Jim Lambie "Unknown Pleasures"
This event has ended.
The Hara Museum of Contemporary Art is proud to present the exhibition Jim Lambie: Unknown Pleasures. Selected as the Scottish representative at the Venice Biennale (2003) and nominated for the Turner Prize (2005), the most prestigious honor in the world of British contemporary art, Lambie has achieved a number of milestones in recent years. This exhibition features Lambie’s trademark psychedelic floor installations with sculptural works consisting of dramatically transformed everyday objects which together co-star, collaborate or compete with the unique space of the Hara Museum. Many of the works are appearing in Japan for the first time.
“Discovered” by Wassily Kandinsky at the beginning of the 20th century, abstract art went on to give blossom in the mid-60s to the large flower known as “Op Art,” which changed art from image to illusion, giving spectators a new kind of visual experience. Born during the heyday of the Op Art movement, Jim Lambie lays down tapes in precise geometric patterns over entire floors that boldly transform the space itself. Through his installations, he probes the use of abstraction to create rich visual experiences, as well as the possibilities that they hold. Furthermore, Lambie takes daily objects such as chairs, beds, records and record players that have been boldly yet sensitively decorated and places them skillfully into his installations to bring “unknown pleasures” into our sights.
When we step into a space created by Lambie, our eyes begin to “reply” to the geometric patterns on the floor. We experience illusionistic space that vibrates with a regular rhythm, shrinking and expanding, even inducing a feeling of vertigo, until at some point we forget we are in a museum and feel the space expanding without limit within the inner depths of our consciousness. Lambie, who continues to live life immersed in music through band and DJ activities, talks about music in a way that mirrors this sensation: “You put a record on and it’s like all the edges disappear.” Through the mechanisms behind perception, the psychological and behavioral restraints that surround us temporarily disappear, transforming life into something vigorous and robust. One might consider this sense of “being alive” to be the end state of Lambie’s abstraction.
[Image: Installation view at the Hara Museum © Jim Lambie and Hara Museum of Contemporary Art]
From 2008-12-13 To 2009-05-10
He's big. He's Scottish. And he's over here. Extended by popular demand, Jim Lambie's solo show is a feast for the eyes, an extravaganza, a psychedelic phantasmagoria. But what else?
Only B&W, not colourful as advertised in the flyer/poster. Misleading...? Mmm.
I came to this exhibition yesterday with great anticipation and hope , as seeing some fresh work in a Japanese museum has been a looooonnngggg time in the waiting, (Yes i saw a lot of his work here already since the presiding galleries seem to control the museums as their shills and not the other way around, but htat is a different matter.) Personally thinking Mr. Lambie is a very interesting artist to investigate, my hopes were dashed when i came to see a regurgitation of art from the last 40+ years. The floor treatment which usually surprises me was a simple re-working of Sol Lewit meets Daniel Buren which when positioned next to jean Pierre Raynaud only emphasizes and weakens the installation. Being a record and book freak myself, I checked the spines of the records and found less of a controlled selection and more of a thrift-shop remains. I read the essay which the museum is of course proud to exhibit the artist—why would they say otherwise? — but simple questions in the details go unanswered. Excited to peer into his wold and ideas, I entered but ended up cruising through the show in less than 10 minutes. Feeling gipped, i tried it again, then not wanting to leave so quickly i decided to have a coffee and mull the show over. Trying to discuss it we quickly diverted the discussion to a fun old song by Bauhaus, Double Dare. Funny that oldie held more discussion and attention. The couple next to us asked what we were discussing and turned out to get into the music more. They were equally disappointed in Jim Lambie, and agreed that it is not the museum's position to verify the galleries, but their duty is to serve the artists and the people. ot the curators please take heed, the public of Japan need not pay to see a show that is easily accessible in the private galleries, frequently simultaneously.
Jim Lambie turns the Hara Museum into a riff on the curve
By MARIUS GOMBRICH
Special to The Japan Times
"... I guess these two elements are like the bass line and drums on a piece of music, and then the other sculptures are floating on top of that, almost like the vocals and the guitars," Lambie explained.
★Nice collaboration with Hara Museum★