Research Interests for Pedro Lasch

I see my work as a consecutive set of acts and ideas that complement and interrupt the flow of the everyday. It’s a chain of routine-breaking routines. My role as an artist, researcher, educator, activist, cultural organizer, and producer can be understood as a cohesive whole, which develops within specific social situations and exists within and outside of conventional art settings. Presentations in museums, galleries, and academic contexts represent only a part of my overall production. A preoccupation with the theory and practice of a socially engaged art, which is rooted in daily exchanges, has led me to the formulation of an aesthetics based on public interventions, social interactions, games, and temporal rearrangements. The range of my projects encompasses anti-monuments, language games, artist's books, radio works, lunch events, experimental workshops, events, and activities, as well as more conventional work in the form of installations, video, photography, painting, printmaking, and drawing. Regular participation in the organization and production of cultural and social networks, such as art collectives like 16Beaver Group (NY) and various immigrant grassroots organizations is also a very significant part of my work. The circulation of my work in international circuits is a direct result of an ongoing engagement with the culture of cross-class cosmpolitanism.

Keywords:

Contemporary Art, Visual Culture, Visual Studies, Visual Practice, Conceptual Art, Installation Art, Political Art, Drawing, Painting, Printmaking, Video, Performance, Latino/a Studies, Immigration Studies, Latin American Studies, Experimental Pedagogy, Cultural Anthropology, Sociology

Areas of Interest:

Contemporary Art
Visual Culture
Visual Studies
Political Art
Conceptual Art
Drawing
Painting
Printmaking
Video
Installation Art
Performance
Visual Practice
Latino/a Studies
Immigration Studies
Latin American Studies
Experimental Pedagogy
Sociology
Semiotics
Epistemology
History & Philosophy of Science

Representative Publications

1. P. Lasch with S. Aravamudan, J. Gonzalez, A. Maillet, W. Mignolo, P. Sigal, Black Mirror/Espejo Negro by Pedro Lasch (Fall, 2010), Nasher Museum of Art and Franklin Humanities Institute. Distributed by Duke University Press [available here]
2. P. Lasch with 16Beaver Group, Iraq Questionnaire Answers, October Magazine no. No. 123 (Winter, 2008), pp. 149-160, MIT Press
3. P. Lasch, El color de la razón: racismo epistemológico y razón imperial, edited by Walter Mignolo, Emmanuel Chukwudi Eze, Paget Henry, Santiago Castro-Gómez, El desprendimiento: pensamiento crítico y opción descolonial no. 3 (Spring, 2008), pp. cover & p2, Argentina: Editorial Signo and GlobalArgentina: Editorial Signo & Durham: Globalization and the Humanities Project, Duke University
4. McKee, Yates, Contemporary Art & the Legacies of Democracy, in A Guide to Democracy in America (2008), pp. p 34-35, Creative Time Books, New York
5. Molina Ramírez, Tania, Ser mixteco o purépecha ya no puede entenderse con una lógica territorial, La Jornada (México) (October 20, 2007)
6. De Acosta, Alejandro, Latino/a America: A Geophilosophy for Wanderers, in An Atlas of Radical Cartography, edited by Lize Mogel & Alexis Bhagat (2007), Los Angeles: Journal of Aesthetics and Protest Press
7. G. Cardenas, Visualizing Mexican Migration to the United States, CMD Working Paper #06-04e, The Center for Migration and Development Working Paper Series (June, 2006), Princeton University
8. 16Beaver Group, Map of New ORDER Lines, edited by Kyunghwa Ahn, Journal BOL no. Issue #4 (2006), Seoul: BOL
9. P. Lasch, Tanta Cerca Tan Cerquita, in Catalog for Transitio 2007: International Festival of Electronic Arts & Transnational Communities, edited by Eds. Grace Quintanilla & Mariana Delgado (Spring, 2009), Centro Nacional de las Artes, Mexico City
10. 16 Beaver Group, Between US: Exhibition Notes and Documentation, in Fever Variations: Gwangju Biennale 2006 Catalogue, edited by Hong-hee Kim, vol. 2 (2006), pp. 168-169, Gwangju Biennale Foundation
11. P. Lasch, Naturalizations, in Caras Vemos, Corazones No Sabemos: Faces Seen, Hearts Unkown (Exhibitition Catalogue), edited by Amelia Malagamba (2006), pp. 66, Notre Dame: Snite Museum, University of Notre Dame
12. J. Beck, The Art of Memory and Navigation Across Asia, in Fever Variations: Gwangju Biennale 2006 Catalogue, edited by Hong-hee Kim, vol. 1 (2006), pp. 281-295, Gwangju Biennale Foundation
13. N. Thompson & G. Sholette, The Interventionists: User’s Manual for the Creative Disruption of Everyday Life (2004), pp. 111-112, Cambridge, MASS MoCA Publication & MIT Press
14. Greenberg, Blue, Triangle's ten best art exhibitions of 2008, The Herald-Sun (December 28, 2008), Durham, NC
15. Greenberg, Blue, At the Nasher, new life for an ancient collection, The Herald-Sun (June 22, 2008), Durham, NC
16. Broili, Susan, Exhibit combines art of two worlds in new statement, The Herald-Sun (June 7, 2008), Durham, NC
17. Cotter, Holland, PRIMITIVISM REVISITED: After the End of an Idea, The New York Times (January, 2007)
18. M. Rakowitz, Pedro Lasch’s Open Routines - Artists’ Artists Section, Art Forum (December, 2006)
19. C. Houser, Review of Pedro Lasch Solo Exhibition at Queens Museum of Art, Art Nexus no. 61 (June, 2006)
20. R. Beattie, Immigrant Art Exhibitions: Insights of Passage, New York York Times (May 19, 2006)
21. R. González Mello, Andamios Interiores, Curare: Espacio Crítico para las Artes no. 15 (1999), pp. 88-89