RetroARTive: Sarah Lucas Rose Bush

I remember reading a piece about déjà-vu; if memory serves me right, it said that it is a chemical imbalance on the amygdala, the almond-shaped part of the brain that processes emotions and feelings as they are taking place. Apparently, that momentary lapse creates a memory from the present, generating the confusion that comes with remembering the now.
However, as I was standing in the familiar setting of the Situation, part of the Sadie Coles Gallery, I realised that the feeling I was re-experiencing was generated from what is similar but not same. A few months ago, I visited the space for the
Make Love Exhibition, and wrote the RetroARTive piece on it that drew me back to this space the second time. I wanted to see what occupied the space. I was pleasantly surprised.
It turned out that the gallery is in fact dedicated to Lucas‘s work until the end of 2012, and is following an organic flow of evolution that is curated by the artist herself. Historical and new pieces by Lucas and occasionally other artists occupy the space, and transform it into the artistic puzzle that is Lucas’s mind.
The wallpaper was the same but different, with an added layer building up and tearing down the previous image. Two big hooker Boots were in a podium in the middle of the room, lit by a single red bulb. Toilet bowls were carefully placed around the gallery, in the same spot that the concrete blocks and chairs were two months ago, giving the impression of a transformation. Indeed, the creature that was living on the ironing board before now moved to the main room, wrapped around a gun, pointing aimlessly at the wall.
I absolutely loved the main statue of presence and absence, the female shapeless form, breasts made of two light bulbs, and the pelvis, previously a tin now replaced by enamel.
Lucas’s work stayed true to the Make Love spirit, and added a layer on it.
And as I am posting this, I am wondering how the space is now. Only time will tell.



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