Thursday, February 27, 2020

Jordan Wolfson at Sadie Coles HQ


The success of a Wolfson artwork seems how effective the lures are in ensnaring us. The spectacle is always just the technologic bait for the game in which seemingly innocuous - but visually seductive - elements become easily quagmired in overlapped semantic dissonance. Even the James Lee Byars childhood works read like a technology for affective means, a product. This formalizing the world of course causes tension: "political trends and topics, but seemingly only for decorative purposes." Wolfson himself: “It creates a kind of poker face of absurdity to the artwork that negates meaning. They can’t load meaning into it, because it. Just. Doesn’t. Work.”  But we refuse to believe this, we can't believe something that could affect us could be meaningless. That Wolfson has become of the most famous of his generation is a case study in what the artworld demands from its artists. Attention without anything to attend to, a blank slate with bait. Wolfson seems have become a search for new technologic means to repeat the same fantasies.

See too: Jordan Wolfson at David ZwirnerJames Lee Byars at VeneKlasen/WernerBlankness