Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'
In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .
Jordan Wolfson's practice in the past ten years has included video, film, installation, performance, print and photography. Since 2009 he has focused on an ambitious series of animations that could be considered a trilogy, _Con Leche, _2009, _Animation Masks, _2011, and _Raspberry Poser, _2012. Presented here is Con Leche, in which an army of cartoon Diet Coke bottles filled with milk parade across an empty city (real-life footage of Detroit), slopping their contents as they stroll. Installed in a darkened space which recreates the immersive 'black box' of a picture house, the video brims with cinematic references: the bottles imply an homage to the dancing brooms of Disney's Fantasia. Wolfson also injects elements of documentary, advertising and music video, exposing the stylistic foibles and formulae of each. The scopophilic focus on the milk bottles, initially suggestive of advertising, begins to evoke the roving camera of pornography. The soundtrack is likewise a hybrid which produces continual changes of 'footing': a female actor recites texts lifted from the internet, while Wolfson interrupts her with his own directions, adding distortion to the already distorted world presented and unravelled in Con Leche. Jordan Wolfson (b. 1980, New York) lives in New York and Berlin; he studied at the Rhode Island School of Design, Providence.
Text courtesy Sadie Coles HQ.
In an age in which artists are expected to take a stand on social and political issues—perhaps even more so than they're expected to make work that is aesthetically pleasing—Wolfson routinely makes headlines for assaulting his audiences with heavy, important themes, and then refusing to discuss them. 'I basically exist,' he explained to me. 'I...
With his eerie animatronic figures, the artist Jordan Wolfson is able to hold the viewer transfixed. And his new video work at Moderna Museet is having the same spellbinding effect.
We hear Riverboat song (2017-2018) before we see it. The first view of Jordan Wolfson's sixteen-channel video installation is of its back, a hulking mass of wires, monitors and media players arranged in an upright grid on purple carpet that covers the gallery floor. Suspense is built into the approach: one has to round the corner of this...
Eye contact and alienation–this combination allows Wolfson to open his audience up and download something uncomfortable inside them. The result is the feeling of watching a car crash, or rather, the feeling of realising that you are watching a car crash and that you might not care. Coloured sculpture returns a gallery into an arena of torture, one...
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