Creepy and vengeful, Wolfson’s puppet boy is violently smashed to the floor at Tate Modern – then threatens to fight back. But is the controversial US artist just yanking our chain?
In a room at Tate Modern, a boy is getting beaten up. He has a chain fixed to the top of his head, another attached to an arm, a third to a leg. As I watch, computer operatives sitting next to me press buttons, activating cranes that pull the chains taut. He spins into the air, limbs fly out, the torso swivels upside down. The chains loosen, he smacks into the ground. Then music kicks in over loudspeakers. Percy Sledge is ardently, if grotesquely inappropriately, singing When a Man Loves a Woman.
The boy is an animatronic puppet, slightly larger than life, with glossy red hair and loose limbs like the 1950s American TV cowboy puppet Howdy Doody. His gap teeth and leering eyes reference Mad magazine’s Alfred E Neuman, his ragged trousers Huckleberry Finn.
The animatronic boy takes such a thrashing he has to have new body parts transplanted regularly
I'm no moralist trying to shock people into behaving better … Really, I don't care about your interpretation
Related: Jordan Wolfson review – shock jock with a baseball bat
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