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Today, light therapy is instead integrated as a part of the corporate landscape. In this exhibition, Lucas wants to address the feeling of hopelessness towards society and experiment on how we can redirect the signification of being productive. The exhibition consists of four works. Under the Influence is a series of light therapy boxes built by the artist to create an image that affects you physically. Mood Board is a collection of online articles giving advice for dealing with mood disorders, showed together with the book Diagnostic and Statistical Manual of Mental Disorders reviewed , a reprint of the DSM5 where every iteration of the word mental was corrected with the word public.
Tempos Verbais the Volume of History and the Balance of Time is a sound archive of protests songs made in collaboration with Pedro Oliveira. For this show a new selection was made with protests that took place on the last peak of activity of the sun, that is, , thus mainly encompassing sounds from the Arab Spring. Lucas Odahara, reflecting on housing prices in various places he has been around the world, tells a short, poetic and funny love story.
On each square meter of graph paper, the classic format for architectural drawings, he positions a completely subjective photograph, each representing a location, from Berlin-Kreuzberg to Rio de Janeiro and Venice. He then applies price tags to these square meters in reference to the specific location, leaving it open whether it is the price per square meter for building land, for a real estate purchase or for rental. In fact, Lucas Odahara did not use statistical surveys to find these prices, but asked the people he knows in the places how much they pay.
Ultimately, here too, a subjective approach is given, linking the socio-politically immanent question of affordable housing with an individual story.
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However, the huge differences between the cities and sometimes perverted housing prices remain visible and thus also a general sociopolitical commentary. He transmits it to the visitors by offering them to buy a square meter piece of art in the exhibition themselves - at the price that would cost the square meter in the city, characterised through the photo which is often not specific to the place it shows and the tag price.
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Each time one buys a square meter of the art of Lucas Odahara with the printing of a photo in the center, one pays very different prices. The distinction is thus not only about the fact that certain photos are particularly pleasing, but also in terms of what one can afford, which is also indicated by the price tag.
Incidentally, in the sense of art market prices, one always makes a bargain, which is an additional irony of this work. In the poetic-comic-romantic narrative of a man who can not pay his rent and is limited by his landlady to accommodate himself to one half of his room, while in the other half she brings another man in which he inevitably falls in love, Odahara creates a beautiful as well as ironic approach to the topic of living as a quality of life, as an individual freedom and as an existential current socio-political issue.
The fact that this German-English written story has to be deciphered only on the silver background of the building materials and thus more clearly reflects the square meter prints and the locks, which firmly connect these elements, points to how much this narrative is only a formulation of the general question he poses. A story that can happen to anyone.