- Alexander Kennedy
- 27 March 2008
GoMA, Glasgow, until Mon 26 May
PHOTOGRAPHS, INSTALLATION AND SCULPTURE
It’s difficult to pin down Glasgow-based Torsten Lauschmann’s work. All attempts to create a narrative or to find some kind of justification or single intention fail. This is the work’s success. Lauschmann brings together many different elements: photography, sculpture, projections and wall drawing to realise a vision that is at once a dramatisation and a simplification of the everyday. Something approaching grace emerges from his practice, where we glimpse shimmering and fleeting moments of transcendence.
His work on show at GoMA continues the excellent programme of exhibitions that have taken place in this small, dark suite of rooms on the third floor of the gallery. Lauschamann keeps the space dark, using the flickering light from the projectors to atmospheric effect. The artist presents his now familiar approach, of projecting images at walls and over objects placed in front of the ‘screen’. In the first room we find one of four such installations (‘Pandora’s Ball’), with the image of a woman’s feet dancing on a cobbled street projected over a pale, moon-like sphere. The piece invokes a sense of play and romance, themes that can be found in much of his work.
Hidden among the very personal, yet mostly light-hearted Polaroids of his family, we find other examples of these projections/installations. In the shadow of an up-turned organ, numbers jump and whirl in the shadows it casts (‘Quality – Money Cord’). It’s a neat trick, and continues the idea of there being another reality behind our own. It would be glib to say that he finds magic in the everyday; it’s maybe more accurate to say that his everyday is magical, if magic means wilful, creative acts. Great artists like Lauschamann highlight this. If his work is about ‘the battle between rational and emotional processes’, as he himself believes, then his art objects are glorious battlefields where he has won.