It is easy to say what's good/affective about these. It is ideology uncanny, the way the arcade is the cultural mythos machine, made topsy turvy. Fujiawara's production of meaning is a big cartoon factory. Artists blow up a mall, rearrange cultural debris. Edutainment gone haywire: Dr. Frankenstein reanimates a trade show. The ideology of display into comedy for it. Etc. Learning, but like, stupidity is the funhouse of meaning. Which the exhibition was always the factory of, and we ostensibly liked this, meaning, and ostensibly this was good meaning, rather than ideology. But this became two meats hard to slice. The ability to construct meaning itself became the ideologic function of the gallery that its look lended. And here it was in a kaleidoscope.
"This is how my world looks – diverse, confusing, exciting, incomprehensible, fearful – and I can only make work that is close to my experience. ... And then, from that, how we construct meaning for ourselves now, amid those ruins. Throughout everything we haven’t lost a desire for meaning or belonging but maybe in a ‘post-meaning’ world we can still have a meaningful existence. I’m trying to understand if this is possible or if the search for it is meaningless."
There's no truth here, just the carnival of experience, fun house made from the funhouse glass of cultural knowing, the warbled mirror of art's stuttering experience.
see too: Simon Fujiwara at Dvir(1), Simon Fujiwara at Dvir(2)
