Research Professor of Art, Art History and Visual Studies
B.F.A., Cooper Union 1999
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.
ExpertiseDrawing, installation art, experimental pedagogy, new media, participatory art, art theory, latin american visual culture
Lasch, P., and P. others. “Introducción: (Des)Colonialidad del ser y el saber.” El Desprendimiento: Pensamiento Crítico Y Opción Descolonial, Argentina: Editorial Signo & Durham: Globalization and the Humanities Project, Duke University, 2006, pp. 2&cover-.
Lasch P, P. “Map of New ORDER Lines.” Journal Bol, edited by Kyunghwa Ahn, Seoul: BOL, 2006.
Lasch, P. “Justice for Three Voices: Two Real, One Imaginary.” Journal Bol, edited by Kyunghwa Ahn, Seoul: BOL, 2006.
Lasch, P. Recycled Photographs: Moving Still Images of Mexico City, 1950/2000. Edited by Marcy Schwartz and Mary Beth Tierney-Tello, Albuquerque: University of New Mexico Press, 2006, pp. 139–72.
16Beaver Group, Kyunghwa, and Kyunghwa Lasch P. Act Patriot Act. The Contemporary Museum, Baltimore, 2005.
Lasch, P. “Una Propuesta Escultorica.” Saber Ver, vol. Segunda Epoca, 2005, pp. 38–39.
Lasch, P. “Naturalizations: Media Defacements.” Rethinking Marxism, vol. 16:4, 2004, pp. 486–87.
16Beaver Group, Kyunghwa, and Kyunghwa Lasch P. “An Open Interview and Lunch.” Fuse Magazine, vol. 26:2, 2003, pp. 12–13.
Lasch, P. “La Mesa de Juego de Mendeleiev.” Ciencias, vol. 65, no. 76, Mexico City: U.N.A.M., 2002.
Lasch, P. “Un Arte que Nace, y si no se Reproduce...Muere.” Longevidad: Ciencia Y Culture, no. 108–116, 2000.
LATINO/A AMERICA & Jacob Lawrence’s Migrations Series (Slide Talk) for Panel: Epics of Black and Brown: A Public Panel on the Representation, Culture and Experience of African American and Latino/a Migrations. Participants: Harry Harrison, Claudia M...
Lacanian Analysis & the Naturalizations Project (Special Workshop) in relation to The Screams of Silence: Depression and Other Maladies of Modern Times, a visiting lecture by Alejandro Salamonovitz, PhD, International Exchange Program. September 20,...
Pedro Lasch: Exhibitions, 2010 | Caras Vemos, Corazones No Sabemos (Faces We See, Hearts We Do Not Know): The Human Landscape of Mexican Migration to the United States at The Alameda Museum, San Antonio, Texas. (2010)