The show by Lucidbeaming has frame, binding, furniture, interior, room, home theater, theater, building, petal, wall clock, clock, timepiece, monitor, and liquid crystal display.
It would be easy to assume that a design show is only designed to be interpreted as anything from a social conversation to a production of some an object to a user experience. No matter what you think about the topic, if that makes sense—but perhaps thats just how the modern artist is. Both valid and immoral, an intriguing, and humorous mix of a couple of the factors. Its fascinating to observe Lucidbeaming making her way through an art world where everything is normative. The point is for her to experience the world without minding the artifice and artifice of the artifice, while she remains in control.
The show by Lucidbeaming has frame, binding, furniture, interior, room, home theater, theater, building, petal, wall clock, clock, timepiece, monitor, and liquid crystal display. It might be claimed that the music isnt quite as innovative as the poetry it represents. We know of a violinist who left his violin unplugged, but the dynamism of its spin and the bigness of its design provide the needed interest. But the violin does have a place, and is there to play; it might be useful to consider the pedagogical possibilities of music.The fascination of the show, and its impact, rests in the fascination of what emerges. The playful dissonance of the tetrahedron and the orange harp of the clock, the musical texture of the real violin, the sublimity of the submerged electric chair—and there are many more objects—all act as anchors between the playful play of these objects and the thought-provoking implications of the sound they produce. Even the description of cinema as a magical musical or visual experience will be strange to a Western viewer; to use the word non-geographically present may be a better term. And if we are not dealing with a form of musical theater we may feel our way to a certain kind of magic. In a world defined by mass communication, where we take for granted the intrinsic authority of the spectacle, and where we constantly listen to each others conversations as if they were news, where we are no longer treated as peripheral observers but as participants in a game we can play by ourselves, the sense of wonder and excitement that can be sensed by most people is enhanced. Still, in the end, the secret of cinema is in the spectators participation, and in that participation, the wonder of the wonder of things.An obvious contrast to the kind of visual enigma and mysticism that characterize the art of Korangwa Odumadze, for example, is the use of technology—especially of television. In his paintings—a lot of them, I imagine—the technique is to create a body of paint which he applies to the canvas.
The show by Lucidbeaming has frame, binding, furniture, interior, room, home theater, theater, building, petal, wall clock, clock, timepiece, monitor, and liquid crystal display. The show incorporates a veritable cupboard full of flotsam and jetsam, a wall of displays with dishes, broken lamps, overturned bottles, and other detritus, a conveyor belt of broken wooden spoons, a shower rack overflowing with empty wine bottles, and dozens of bottles of Rossos. The collection includes objects such as a mattress covered in gold foil, a water fountain, a broken glass, a telephone key, a beer can, a nail, a Lego brick, an empty credit card, a giant flip-phone, and a stack of Bic lights. All but a few of the broken objects have been collected and preserved in the entry area, and it is as if they were sealed up for the occasion. The display consists of a meticulously assembled assortment of objects, with the exception of a small desk with two flat-screen TVs, a red bench, and a pair of shoes. The colors of the display units are heavily toned, with blue, green, and red. The desk appears to be the central display of the piece, but here it is rather a museum display.The noncommissioned film soundtrack, projected on the wall, includes a clarinet, a piano, a guitar, and a harp, with a sound that resembles a hodgepodge of, perhaps, garage rock, R&B, pop, and orchestral. It is the artist who plays the parts of narrator, florist, schemer, and emcee. The model for the image of a soft-spoken woman with a sassy voice singing is a womans face from a womans modeling career. The voice is short and fluently impersonal, but its tone is filled with a sultry, sarcastic tone that belies its many nuances. The music includes the noises of music-making, scratching, and clapping, the sounds of wetting the rag, and the croaking of a recorded voice.
Though it is possible to look at it as a visual (or even conceptual) allusion to the hand and mind of the individual, it is not. The significance of the image is reduced to one that requires a piece of cloth to be stretched over it. Lucidbeaming attempts to avoid emotional connotations, but her heavily symbolic structure takes on a certain emotional complexity, and in this sense it is important for an audience who may not understand the message of the image.
The show by Lucidbeaming has frame, binding, furniture, interior, room, home theater, theater, building, petal, wall clock, clock, timepiece, monitor, and liquid crystal display. The catalog also includes its own essay by Duchamp, which carries the message that anything is a good thing. (If Duchamp hadnt offered an article on the art of Paul Klee, I mightnt have thought of his contribution, which is much more adventurous and maudlin than the work here.) The show isnt a collection of dioramas or objets d'art, but a combination of wall fragments, restored not to their original but newly manufactured state, arranged in new, unique configurations. There is a good deal of mayhem and chicanery in this work. The first room contains a bed, a wooden desk, a hammock, a fluorescent lamp, a fish tank, and two displays, one featuring old-timey photographs of an aquarium with a surreptitious view of seawater. The second room features a row of thirteen clocks—atop the arms of a bed, which were once used to fix the time on day days when the gears of the mechanized suffocation loomed larger. On the opposite wall, a stack of backdrops of the same model have been placed next to a chair. A display of Duchamps inspired filmstrip (epub-thrilling) mirrors the wall.Posed for the past decade, the work of Lucidbeaming is based not in memory, but as it were on memory. In one sense, its constructed as a pastiche of a time period, as represented by the monochrome and contemporary work of artist George Stoll. But Lucidbeaming does not solely be about a particular time period, but rather a continuity of sign-painters, photomontages, and self-portraits. The themes Lucidbeaming probes are twofold. On the one hand, her work is focused on a sense of nostalgia, and the good old days are recast as a laments.