June 10 - August 12
Jordan Wolfson's early animated video Con Leche (2009) is included in the group exhibition AT THIS STAGE at Château Shatto in Los Angeles.
In this 22-minute video, an army of Diet Coke bottles filled with milk marches through empty city streets and back alleys in Detroit. Anthropomorphized through their supple movements and bare feet, they alternately walk with military uniformity, in random formations, and alone, seemingly headed for nowhere in particular. A female voice-over adds disparate narratives to the rhythmic movements of the bottles, addressing both lighthearted and serious topics drawn from texts found on the internet.
Real Violence (2017), a virtual reality work, was included in the 2017 Whitney Biennial. In June 2017, First Look: Jordan Wolfson at the New Museum's theater featured the video works Riverboat Song (2017), Raspberry poser (2012), and Animation, masks (2011). Wolfson's 2017 solo exhibition at Sadie Coles HQ in London presented Riverboat Song, as well as other new works.
March 17–June 11
Jordan Wolfson's virtual reality work Real Violence (2017) was presented for the first time in the 2017 Whitney Biennial curated by Mia Locks and Christopher Lew.
Wolfson pulls intuitively from contemporary technology, advertising, and digital culture to produce ambitious and enigmatic narratives that often feature animated characters. Real Violence reflects the artist's interest in states of interaction between the viewer and the work, in particular as they are activated by the gaze.
This was the 78th edition of the biennial and the first to be held at the Whitney Museum building on Gansevoort Street in lower Manhattan.
JORDAN WOLFSON: MANIC / LOVE / TRUTH / LOVE presented major works spanning several years of the artist's practice in a two-part exhibition at the Stedelijk Museum in Amsterdam—Wolfson's first solo exhibition in The Netherlands.
The first part, MANIC/LOVE, featured Wolfson’s most recent large scale animatronic installation Colored sculpture (2016), whose red hair, freckles, and boyish look draw associations with such literary and pop cultural characters as Huckleberry Finn and Howdy Doody. Highly polished in appearance and featuring facial recognition technology in its eyes, the work is suspended with heavy chains from a large mechanized gantry, which is programmed to choreograph its movements. MANIC/LOVE also included a selection of wall-mounted digital paintings and video works including Raspberry Poser (2012).
The second part of the exhibition, TRUTH/LOVE, featured Wolfson's animatronic sculpture Female figure (2014), which was first presented at David Zwirner in New York in 2014 in the artist's debut exhibition with the gallery. The sculpture combines film, installation, and performance in the figure of a woman dancing and wearing a witch mask. At David Zwirner and at the Stedelijk Museum, a limited number of visitors was admitted to see Female figure at one time. Like Colored sculpture, Female figure reflects the artist’s interest in states of interaction between the viewer and his work, in particular as they are activated by the gaze.
California documents Jordan Wolfson's first exhibition with the gallery at David Zwirner in New York in 2014. The result of a close collaboration between Wolfson and the book designer Joseph Logan, the publication is part exhibition catalogue and part artist's book, and includes a text by Wolfson that provides context for the visual material.
Arranged in a dynamic layout, the publication features photo documentation of the animatronic sculpture Female figure (2014) and the installation of the exhibition, which also included a series of untitled sculptures from 2014 and the video Raspberry Poser (2012). Candid shots of Wolfson were contributed by the artist and photographer Gaea Woods.