House of Music, the latest solo exhibition by Peter Doig, marks new territory for the artist who is increasingly known for being Europe’s most expensive painter, thanks to his works repeatedly selling for record-breaking, eye-watering sums on the secondary market. The show is Doig’s first foray into integrating sound into his work, through the inclusion of two sets of restored, cinema-standard analogue speakers which take centre stage in the Serpentine South Gallery, surrounded by a series of new and old paintings which relate to the artist’s love of music.
The aim appears to be to transform the gallery into a listening space, something akin to the many hi-fi listening bars which have been popping up in spades around the UK in recent years, or Devon Turnbull’s excellent and hugely popular Hi-Fi Listening Room at Lisson Gallery the year before last. A smattering of plush recliners and chic tables and chairs are dotted around the various rooms, inviting art lovers to sit and enjoy the sounds of Doig’s personal vinyl collection as you take in the sights of his mesmerising, large scale paintings inspired by his time spent living in Trinidad, observing the country’s sound system culture which seemingly had a profound effect on the Scottish painter.
The only problem is, despite going to great lengths to acquire these mammoth speakers - they were ‘harvested from derelict cinemas’ by Doig’s collaborator Laurence Passera - you can’t actually hear the music very well. A private view of the show for press apparently suffered from technical issues, leaving reviewers to speculate that, once everything was up and running, House of Music could offer something similar to a club or festival, however as someone who sauntered through on a Saturday afternoon after the show opened, I can attest that what was on offer was an altogether more docile experience. At that time, punters were treated to the glorious sounds of Miles Davis’ 1974 LP Get Up With It. It’s just a shame that the volume was not turned up to create a more immersive listening experience. Those huge vintage speakers, which themselves have an arresting, sculptural quality, are surely up to the task.
It’s a wonderful showing from an artist with very little left to prove
Thankfully, Doig’s majestic paintings spoke volumes. Upon entering the exhibition, you are first met with the sight of ‘Painting for Wall Painters (Prosperity P.o.S.)’ (2010–12), a vibrant depiction of a half-finished mural Doig photographed in the Port of Spain, which, through its vivid colours and fading brush strokes, instantly transports us to the Caribbean. In ‘Maracas’, Doig depicts his memory of a towering black sound system he spotted on the beach while exploring the island shortly after he arrived to begin an artist’s residency in 2000. He would eventually be so taken with the country that he would end up spending the best part of two decades there, and these eerie, but ethereal and weirdly soothing images offer a decent explanation for why he fell for the place.
The stars of the show live in the middle gallery, a series of paintings which uses the Lion of Judah as a recurring motif, showing the king of the jungle in various states of play and rest in colourful, urban settings. There is a grandeur and confidence to Doig’s masterfully restrained approach that feels something of a piece with this animal, as both creatures are so synonymous with their place at the top of their respective food chains.
Overall, House of Music is a wonderful showing from an artist with very little left to prove. I can only hope someone might crank the volume on those speakers so that Miles Davis and co don’t have to work so hard to be heard over the sounds of iPhone alerts and crying babies.
