Galerie Nordenhake | CHART

Galerie Nordenhake (SE)

Galerie Nordenhake presents contemporary art with an international focus. The gallery has exhibition spaces in Stockholm and Berlin. In 2018 the gallery opened up a new space in Mexico City. In Stockholm the gallery is run by Ben Loveless.


Hudiksvallsgatan 8
SE-113 30 Stockholm
+46 8 21 18 92

stockholm@nordenhake.com
nordenhake.com

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Lap-See Lam (SE)

Using fiction as a tool and particular interior aesthetics of Chinese restaurants as a formal language, Lap-See Lam draws attention to the cultural history of these spaces and how the idea of a place constructs notions of cultural identity and belonging. Through sculpture and VR technology, her work constitutes an expanded anthropological enquiry that explores the fluidity of language, identity and cultural histories.

Lap-See Lam (b.1990), Stockholm. She has a major upcoming solo exhibition at Bonniers Konsthall opening 25th January 2022. Solo exhibitions include Skellefteå Konsthall, Skellefteå (2019); Moderna Museet Malmö (2018–2019); and Bonniers Konsthall, Stockholm (2018). Lam is a recipient of the Maria Bonnier Dahlin Foundation Grant (2017).

Chair (New Peking City)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 110 x 92 x 49 cm
2020

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Chair (Ming Garden)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate 91 x 58 x 53 cm
2020

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Table (Wingshing)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 46 x 88 x 75 cm
2020

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Mirror I (New Peking City)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 41 x 83 x 7 cm
2020

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Mirror II (New Peking City)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 42 x 92 x 23 cm
2020

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Stove (Wingshing)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 108 x 117 x 42 cm
2020

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Click/tap image to see full size
Chair (New Peking City)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 110 x 92 x 49 cm, 2020

Enquire
Click/tap image to see full size
Chair (Ming Garden)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate 91 x 58 x 53 cm, 2020

Enquire
Click/tap image to see full size
Table (Wingshing)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 46 x 88 x 75 cm, 2020

Enquire
Click/tap image to see full size
Mirror I (New Peking City)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 41 x 83 x 7 cm, 2020

Enquire
Click/tap image to see full size
Mirror II (New Peking City)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 42 x 92 x 23 cm, 2020

Enquire
Click/tap image to see full size
Stove (Wingshing)

Laquered 3D printed PLA, metal reinforcement, plastic padding, cyanoacrylate, 108 x 117 x 42 cm, 2020

Enquire
"The material and the generational loss gave me a visual language to work with and to think through.”

Lap-See Lam

Asymptote, 2021

"In 2014, my parents retired and sold their restaurant in Stockholm, which my grandmother and her brother opened in 1978. I felt an urgent need to document the place and borrowed a 3D laser scanner from the architectural department at the art school. I had almost no experience of 3D scanning but was curious and drawn to the technology due to its use within archeology, architecture, and forensic investigations. The technique itself, where the machine measures the distance between the object and the scanner with illuminated light, also spoke to me as it talked about immateriality and negative space. But the new proprietor was hesitant to let me scan the space. Instead, I turned to other similar restaurants and this then grew into an archive of scans collected during a year. My initial idea was to make hyper-realistic renderings of these spaces, but the scanner missed a lot of information, created “glitches” in the images, and I also had to convert the data in the computer to be able to work the heavy material. So, in post-production, the material behaved unexpectedly and created a ruin-like expression. Inevitably I started to associate the images with shipwrecks, traces from fires, archeological excavations and dream sequences—the realistic image was not interesting anymore. That was not intentional but something that I chose to keep. The material and the generational loss gave me a visual language to work with and to think through.”

Lap-See Lam, installation view

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