|
Lisi Raskin’s fascination with the military-industrial complex has long been central to her artistic practice. For over a decade, Raskin’s work has been moored to a Cold War narrative; in Julia Bryan-Wilson’s words, Raskin “performs, rather than enacts,” research. In 2005, the artist spent a month in Scotland looking for nuclear submarines. Since then, she has traveled to the Arctic Circle, former East German and Yugoslav atomic bunkers, and through the American West while examining remnants of twentieth-century militarism. This on-site investigation has informed the making of drawings, objects, videos, and large, constructed environments that simultaneously quell and stimulate Raskin’s disquieted relationship to technologies spurred on by war. |
|
“Lisi Raskin’s fascination with the military-industrial complex has long been central to her artistic practice.”
Lisi Raskin, Other Satellite, 2012. Collaged paper. Courtesy of Churner and Churner
Lisi Raskin’s Military
Churner and Churner presents a solo exhibition of works by Brooklyn-based artist Lisi Raskin. “Shots in the Dark” includes work made from 2005 to 2012 and is the artist’s first gallery exhibition in New York in five years.
Lisi Raskin’s fascination with the military-industrial complex has long been central to her artistic practice. For over a decade, Raskin’s work has been moored to a Cold War narrative; in Julia Bryan-Wilson’s words, Raskin “performs, rather than enacts,” research. In 2005, the artist spent a month in Scotland looking for nuclear submarines. Since then, she has traveled to the Arctic Circle, former East German and Yugoslav atomic bunkers, and through the American West while examining remnants of twentieth-century militarism. This on-site investigation has informed the making of drawings, objects, videos, and large, constructed environments that simultaneously quell and stimulate Raskin’s disquieted relationship to technologies spurred on by war.
