I have the impression that Lisson Gallery is struggling. Two years and a half ago, Nicholas Longsdail made two bad decisions: give his son a saying in the affairs of the gallery and embark in a process of expansion that commodified the works and careers of each and every artist they work with. Some of them, followed that path gladly. I am talking about Ai Wei Wei, Cory Arcangel, Marina Abramovic, Shirazeh Hoshuari. Others, were left aside as it is the case of Angela de la Cruz. Others were already on that path as in Julian Opie, Annish Kapoor.
Having said that, I have not seen an acceptable show for, at least, two years in Lisson and Tatsuo Miyajima come across as a pompous joke. His ‘installations’ look like Xmas decoration and function like Xmas direction too. At this point, the fact that he uses ‘numerical displays constructed from light-emitting diodes (LEDs)’ is totally annoying and meaningless.
So to inject a bit of meaning into this concoction,Miyajima decided to collaborate ‘with an artificial life expert, Professor Takashi Ikegami of Tokyo University, which has resulted in a computer programme that generates number sequences responding to the rhythms and speeds of others in the system. Instead of a collection of randomised counting circuits, these networks or clusters of flashing digits come together to create intelligent, ‘living’ organisms, which Miyajima calls Corps Sans Organe after Antonin Artaud’s term for an ideal, virtual body that could function independently from the interconnectivity of its constituent parts’. Brilliant! Let’s ask a scientist of something new and let’s name it after a floating signifier theorist such as Artaud, Derrida or…hold on…..who else? Guess!
Deleuze! So we have… the Rhizome series (all works 2013) which, according to the press release ‘are similarly complex and hypnotic works, formed of glittering grids or panels of coloured LED numbers, also following Ikegami’s unpredictable logic processors. Lisson Gallery is also debuting Miyajima’s seductively red leather-clad structure, Life Palace (Tea House) (2013), which occupies an entire gallery and invites one viewer at a time to step into a domed constellation of blue lights, with numbers glowing and blinking in the darkened space. This personal, meditative isolation chamber reinforces Miyajima’s Buddhist-infused philosophies about time and contemplation, reflecting the cycle of life through the progression from 1 to 9’. Are these people for real? Is Xmas timeeeeeeeee ….. Give me a fucking break, Nicholas!