Artists

Kesang Lamdark

Press release

Upon entering A.R.Techno, Kesang Lamdark's latest exhibition at Grieder Contemporary, one is immediately engulfed in an aura that evokes the essence of old-school rock'n'roll. Despite the exhibition's title hinting at a techno(logical) theme, the atmosphere channels the spirit of 70s glam rock intertwined with Tibetan spirituality, all with a distinctly contemporary twist. Figures emerge from the dimly lit space, casting shadows that challenge the viewer's perception— is it a two-dimensional rendering or a tangible, three-dimensional object? Is it a lavish crystal-encrusted artifact or a meticulously crafted pierced mirror lightbox?

Kesang Lamdark is renowned for his talent in seamlessly merging seemingly disparate worlds: the mysticism of eastern spirituality and the allure of western consumerism. However, it's not simply a matter of binary opposition between east and west, spirituality and consumerism; Lamdark adeptly navigates the complexities of identity construction and the fetishization inherent in both cultures, as vividly demonstrated in this exhibition.

As one steps further into the gallery space, attention is immediately drawn to two expansive nets of perforated plastic, intricately woven to create a labyrinth within the room. These "curtains" and chicken wire serve as quintessential elements of Lamdark's artistic signature, symbolizing his immigrant experience—the perpetual sense of displacement. Utilizing this material, Lamdark sculpts whimsical figurines and objects, such as an upright Siddhartha crafted from vibrant magenta plastic, and a tree trunk-like structure adorned with a mirrored Buddha motif, evoking a captivating interplay of light and reflection.

At the heart of the exhibition stands a commanding portrait titled "Me and Gesi, 2020": a figure with meticulously braided hair, clad in a leather jacket, unmistakably depicting the artist himself. Yet, there's a subtle irony in his depiction as he turns his back to the viewer—an almost modest gesture amidst the grandeur of his portrayal. The background, once again, features the repetitive motive of the chicken wire. Flanking this self-portrait are illuminated lightboxes, displaying images of the Dalai Lama holding a palace within a soap bubble, and adjacent to him, Paul Stanley, the Starchild of the rock band Kiss. Lamdark draws parallels between these two seemingly disparate worlds, noting the shared attributes such as long hair and the use of makeup as a nod to tribal origins.