Jim Lambie | High Voltage | Konrad Fischer Galerie | 24.01.–18.04.2026

Konrad Fischer Gallery is pleased to present Jim Lambie: High Voltage—the first exhibition of 2026 and the artist’s third solo exhibition at the gallery since joining the programme in 2004. Rooted in the transformation of found and reused materials, Jim Lambie’s practice reflects a longstanding relationship with music and colour, shaped by his early years as a musician, as well as themes of space and light. His installations challenge viewers to readjust their perception and experience of their surroundings. In this dynamic interplay of ideas and an inventive yet rigorous line of research, Lambie creates experiences that often have an almost revelatory character.

The exhibition title ‘High Voltage’ is an indirect reference to the gallery building’s former use as a substation. Spread over two floors, the exhibition highlights Lambie’s sensitivity to the architectural spaces in which his works are displayed.

On the first floor, a new iteration of the iconic Zobop floor covered with vinyl tape introduces a chromatic field in which reflective chrome and white stripes – scaled to the width of the building’s supporting beams – trace the architecture of the space from the outer edges inwards and spread radially across the floor. On the back wall, Lambie presents a potato sack painting that redefines painting as a threshold. Paper sacks for potatoes, filled to varying degrees with expanding foam, are painted and mounted on a white canvas; they spill into the space and protrude plastically into it.

In contrast, the second floor remains undecorated: an architectural ‘state of disuse’ that forms a deliberate counterpoint to the activated installation below. This oscillation between activation and pause, presence and absence, reinforces Lambie’s ongoing interest in perception, rhythm, and the latent potential of material and space.

Further works in the exhibition continue these material and perception-related questions. Based on urban observations – peeling posters and flyers on city walls – Lambie’s ongoing Metal Box works open up another register of sustained experimental practice. Added to this are works made from reused spectacle lenses connected with lead rods, which refract colour and light with vivid intensity. Together, these works form constellations that reveal where light and colour are located: in objects, on surfaces, and in the spatial environments that connect them.

The exhibition also includes a live performance by Michael Clark, realised with four dancers and presented on the opening night. Clark’s work brings movement, presence and physical intensity to the exhibition space and expands its spatial questions through embodied practice and the shared experience of being together in space.

Jim Lambie was born in Scotland in 1964. He was nominated for the Turner Prize in 2005 and represented Scotland at the 50th Venice Biennale in 2003. His first comprehensive artist monograph was published in spring 2017 by Rizzoli, New York. He lives and works in Glasgow.

Selected solo exhibitions include: Jim Lambie: Zobop (Color-Chrome), Vancouver Art Gallery (2025–26); Hot Foam, The Modern Institute, Glasgow (2025); Concrete Sphinx, Oscaar Mouligne, Kyoto (2024); Spiral Scratch, Pacific Place, Hong Kong (2018); La scala, Gerhardsen Gerner, Berlin (2016); Sun Rise, Sun Ra, Sunset, Rat Hole Gallery, Tokyo (2015); Fruitmarket Gallery, Edinburgh (2014); Unknown Pleasures, Hara Museum of Contemporary Art, Tokyo (2008); Forever Changes, Glasgow Museum of Modern Art, Glasgow (2008); RSVP: Jim Lambie, Museum of Fine Arts, Boston (2008); and Directions – Jim Lambie, Hirshhorn Museum and Sculpture Garden, Washington D.C. (2006).

Selected group exhibitions include: You have to see it, Fundación Juan March, Madrid (2025); The Mirror of Production, Kunsthall Oslo, Oslo (2022); My Mapping, Fondation van Gogh Museum, Arles (2020); Op Art in Focus, Tate Liverpool, Liverpool (2018); I still believe in miracles, Inverleith House, Edinburgh (2016); You Imagine What You Desire, 19th Biennale of Sydney, Sydney (2014); Undone: Making and Unmaking in Contemporary Sculpture, Henry Moore Institute, Leeds (2010); The New Décor, Hayward Gallery, London (2010); Color Chart: Reinventing Colour, 1950 to Today, Tate Liverpool, Liverpool (2009) and MoMA, New York (2008); and Unmonumental: The Object in the 21st Century, New Museum, New York (2007).