Tatsuo Miyajima

The objects blinking in the window of Lisson look like bits of digi-frippery for the festive season but are actually consumer-aware meditations on life, death and neural activity. This is no retro-gift fad, Tatsuo Miyajima has been doing this for years, creating sculptural or pictorial timers with LED technology that count one in and out of various human narratives and processes. While consideration of these easily reproducible small-scale works in the context of the Japanese artist's many high-profile public projects may prompt questions about the more marketable spectacle created here, the exhibition fits tightly within its gallery container.

The techno mounds of flashing numbers that make up 'Pile up Life no. 9 - Katrina' - an installation of fungoid-Dalek elements conceived for the Prospect 1 biennial in New Orleans, might be maquettes for a larger sculptural work but have been purposely engineered at this modest scale to remind one of the ancient tradition of marking graves with piles of stones. They appear, like most of Miyajima's works, 1980s-futuristic but, flickering to the tune of prayer, his trademark counter gadgets bring the concept back to earth. Being close to human head size the spiky spherical clusters of wires and LED numbers 'Counter Fragile Counter Brain' series have a similar effect in helping one get into the synaptic swing of cells and pulses.

It's easy to be charmed by Miyajima's philosophy-with-numbers game but within the architecture of the gallery it's his awareness of the politics of display that time and again lures one into his alien, but nevertheless humanistic, realm of syncopated digits.