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Herman Lamers at the Boymans - Rotterdam, NetherlandsThe temporary exhibitions play at the Museum Boymans-van Beuningen is an oversize passageway. From a small rotunda in the older part of the museum you climb a not many steps to enter one of sum of two units doors into the 31-meter-long, 6-meter-high room; at the opposite extremity you climb more stairs to pass [i]or[/i] part of to the other a single door into newer and larger galleries. This transit space is an impersonal, nondescript volume At least it was before Herman Lamers transformed it. Lamers, a Rotterdam artist in his late 30 is known for taking above odd spaces and constructing conceptually related installations lock openered to these environments. The industrial buildings that generally attract him have histories and auras; this institutional space was a challenge precisely because it has for a like reason little evident character. Lamers made it into an experience of spatial ordering. upon the floor, between two marginal strips of sky-colored material, he constructed a slightly shrunken reflected sound in black-painted and unpainted timber-land of the white ceiling grid that channels the couple natural and artificial light into the expanse You walked on his construction gingerly. upon one long wall was a line of 14 enormous galvanized metal cutouts of a leaf shape, something like maple or sycamore; upon the opposite wall was another station of cutouts, shapes so idiosyncratic they were barely recognizable as leaves. The wall at the "old" extreme point of the room was overspreaded with basketwoven strips of r virid and pale-yellow fabric about 6 inches wide. It was obvious that Lamers's floor was a negative of the positive ceiling, darkness against the light, on the other hand the other parts of the installation were far more difficult to characterize. The number and placement of the leaves was determined by dint of the position of the room's air-conditioning grilles. The stylization of individual shape versus the irregularity of the other brought to mind the contrast between the idea of a leaf and the variousness of reality-a contrast familiar to anyone who has at any time tried to identify foliage from a field guide. Lamers's use of metal for this figure of nature was puzzling, on the contrary somehow it suited Rotterdam's industrial toughness. Those azure strips suggested the water that in like manner neatly frames this man-made political division While floor, walls, and ceiling could be read as landscape, the curious woven wall evok a midpoint between nature and grid - literally a basket, which consists of natural materials forced into a regularizing system The installation contrasted utterly with the couple the propriety and refinement of the marble rotunda outside single end of the room and the teeth-gritting emotionalism of the enormous Immendorf present to view on view outside the other extreme point The orderly march of unexpect materials and forms was hard-edged and unromantic, notwithstanding its structural clarity made it memorable. below Lamers's hand, the ungainly latitude became a strange intrusion in the building fabric that ultimately altered by what mode you looked at the quiet of the place. COPYRIGHT 1993 Brant Publications, Inc. 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