She's dancing again.
On the third floor of the Kunsthaus Bregenz.
In 2014, the hip-swinging blonde Female Figure made her debut at David Zwirner's New York gallery.
The masked android's soiled white dress could have belonged to a stripper.
A metal rod connected them to a mirror.
Every word of her monologue, performed with the artist's voice, and every movement denounced her as a narcissist who revolves around violence and sexuality and who is constantly concerned with external impact.
The impression was reinforced by a camera in the forehead, which was equipped with facial recognition software.
The jointed puppet was thus able to look at the audience and, via the mirror, at itself.
With animatronic sculptures like this simulacrum from a horror universe, Jordan Wolfson, who was born in 1980, rose to become an art market darling.
The plan to engage a Hollywood studio for special effects had worked out.
The big collector couple Eli and Edythe Broad snapped up the work at Zwirner right after the end of the exhibition.
While the youthful androgynous cyborgs of Georgian Andro Wekua, who was three years his senior, knew how to disturb at the same time with their dead eyes and barely noticeable finger movements, the son of a New York psychoanalyst, who now lives in Los Angeles, relied on blazing effects in his animations, wall works and maliciously humane sculptures ,
the still sales-promoting imperative of the épater le bourgeois and the refusal of readings - which of course gave free rein to speculation.
Was the dancing platinum blonde a survivor of the internet and gaming culture that represented the harshness of the digital age, or a cruel future shaped by machines?
Did the installation criticize misogyny?
Or did she even perpetuate them by using technical virtuosity to distract from the lack of positioning?
The twelve-minute 3D video “Real Violence” from 2017 also broadcasts controversial messages right in the entrance hall.
If you put on the virtual reality glasses, you find yourself on a Manhattan street, in the dubious company of two young men.
One hits the other with a baseball bat, then he kicks his skull.
The Jewish Hanukkah prayer can be heard in the background.
Wolfson, who comes from a Jewish family and insisted on giving the perpetrator his own facial features, once again forces the viewer into the role of a voyeur.
One immediately racks one's brains as to whether it might be helpful to use computer-generated dummies to recreate physical violence, which is rampant in abundance on the Internet.
to get rid of them?
Or are you wrong and Wolfson is only moving in the White Cube in the late wake of Quentin Tarantino, who preferred to use violence as an entertainment element of fear?
But if you consider that activists in the USA taught him that, as a privileged white man from the upper class, he was not allowed to talk about street violence, which he had not experienced in his neighborhood, the perspective changes again under the impression of an increasingly restrictive cancel culture .