|‘Dalston, Mon Amour’
Interactive video installation
Forgotten nightclubs. Neon-lit music venues. Turkish hangouts. Wild gardens. Rendered through a first-person perspective, this latest chapter of Lek’s ongoing Bonus Levels project reflects on the sense of collective amnesia brought about by perpetual redevelopment in Dalston. This site-specific simulation brings together multiple histories of the area into a single zone: primordial forests, immigrant neighbourhood, deluxe apartments. As players roam around this video game utopia, a voiceover extracted from Alain Resnais’ film Hiroshima Mon Amour speaks to them about the nature of memory. It is a gradual, but relentless, sense of forgetting that comes with any form of urban regeneration.
Lawrence Lek (b. 1982 Frankfurt am Main) explores the physical experience of simulated presence through software, hardware, installation and performance.
His ongoing project Bonus Levels reflects the impact of the virtual on our perception of reality, in particular our altered sense of individual freedom and collective agency. Creating interactive virtual worlds, the audience can freely explore his digital spaces, often based on real places.
These site-specific simulations place the viewer in the role of a wandering observer, encountering existential landscapes through a first-person perspective. He draws from his background in DIY music and industrial fabrication to present his work in immersive audio-visual environments.
Lawrence is a graduate of the Cooper Union and Cambridge University. Recent exhibitions include Dazed Emerging Artist Award at the Royal Academy, Sky Line at the White Building, London; Continental Drift at Channel Normal; Tomb, Shrine, Survey-Marker, Spare-Part at Enclave; Tabularium at Slopes, Melbourne; and Bodyscape at Parasol Unit, London. He is currently a resident artist at The White Building in Hackney Wick.
Work commissioned by Marie d’Elbee