20 december 2024, Indra Devriendt
Art as protest
How far can a government go with rules and control mechanisms without jeopardising our freedom or well-being? Noah Latif Lamp addresses this question with his work. To him, art is a form of resistance.
Lamp enjoys provoking. In his view, art does not have to be tame. He demonstrates this by testing boundaries. How far can he go without running afoul of regulations? He constructs a wooden structure on the street in front of the gallery and pours gasoline over it. Now that the sculpture is inside the gallery, the smell of gasoline permeates the space. Lamp also displays a mobile phone jammer, which is illegal to possess. This device prevents mobile phones in the vicinity from receiving signals from cell towers. A jammer can intercept or send information to nearby phones. Governments have used such devices during protests, like those following the Black Lives Matter movement and COVID-19 demonstrations. Authorities deploy them to prevent protestors from using social media to raise awareness or mobilise others to join. Lamp highlights the tension between government control and personal freedom. The title Little Brother refers to the opposite of ‘Big Brother’. Lamp flips the narrative: what if ordinary citizens used a mobile phone jammer?
Noah Latif Lamp, Little Brother, 2024, Tommy Simoens
A video shows Lamp burning flags from every country in random order. He does this in a private garden. In countries with freedom of expression, burning a flag as a form of protest is legal, but in others, it is prohibited. A flag symbolises a nation. If you remove the concept of nations, there would be no governments exercising power. Without nations, there are no borders or controls. Lamp also displays his passport. Governments impose rules and controls to maintain order and safety. Rules create a framework, providing a sense of security and the impression of control over a situation. This can help reduce fear and uncertainty. On the other hand, such measures can give a false sense of security. Certain dangers cannot be controlled or managed. Rules can also lead to oppression and loss of individual freedom. Threats such as war, terrorism or a pandemic often result in extraordinary measures. During crises, governments can go much further in dictating what people can and cannot do. Sometimes these tightened regulations persist, becoming the new normal.
Noah Latif Lamp, Flagged, 2024, Tommy Simoens
As a product of his time, Lamp reflects on the complex and challenging reality in which he grew up. Young people, in some cases, have known nothing but strict rules, such as those still in place following the 9/11 attacks in the United States. Lamp questions the constant presence of stringent rules and controls. How do power and authority influence our daily lives? Lamp expresses his dissatisfaction through his work. To him, art is a way to challenge societal mechanisms and advocate for change. Lamp displays a photo of the controversial R. Kelly. It’s a still from his song I Admit, in which he confesses to sexual abuse and paedophilia. It took 20 years before R. Kelly was convicted for crimes, including child sexual abuse. He has been in prison since 2023. With the photo of R. Kelly, Lamp emphasises the need to shed light on certain issues and make them open for discussion. Art is well suited for this purpose, yet Lamp observes that it is underutilised.
Noah Latif Lamp, R Kelly, 2024, Tommy Simoens
Lamp enjoys ruffling feathers to wake us up. Why do we tolerate certain things and not push back? Some resist and distrust authority, while others embrace rules and willingly give up their freedom. Some even follow the rules so strictly that they enforce them on others. The normalisation of control can lead to acceptance of privacy intrusions and personal freedom violations as being normal. The smell of gasoline in a gallery and a red light trigger unease. Is there a security camera hanging there? We immediately become cautious. Lamp points out the physical impact: heightened vigilance leads to constant alertness or even stress and a fear of danger.
Noah Latif Lamp, Live, 2024, Tommy Simoens
Noah Latif Lamp, Screen Test, 2024, Tommy Simoens
Lamp was born in Amsterdam and has Surinamese roots. In Screen Test, he transforms himself into a white man. He examines how authorities manipulate and suppress identity and freedom. Through this work, he critically examines how identity and appearance influence the treatment and judgment of individuals. Those with a darker skin tone often face prejudice and discrimination. Lamp documents the construction of his temporary new identity through passport pictures. His work is full of powerful symbols. He starts with a simple sketch and strives to maintain the simplicity of his original idea. His actions or intentions around loaded and complex issues are consistently captured in evocative images. His work invites contemplation. The announcement of this exhibition, 'Missing', was made on social media with a poster suggesting that Lamp is missing. He highlights the potential consequences of normalised rules and restrictions imposed by governments. Sometimes people feel there is no other option but to disappear or escape. Lamp critiques societal structures and behaviours that restrict, control or judge individuals. How do these relate to the human need for self-expression and authenticity?
Noah Latif Lamp, MISSING, 2024, Tommy Simoens
