In their artistic work, Carolyn Lazard questions the capitalist idealization of health and productivity by establishing “radical possibilities of incapacity” (Lazard) as a practice to rethink conventional understandings of labour. Drawing on these concepts of „crip time“, Lazard’s work explores fugitive occupations of dominant time and institutional space.
For their solo exhibition, Hintertür, Lazard has produced a new video installation drawing from the sensorial legacy of flicker films. This work points to the mutual embodiment of both the filmmaker and the viewer, animating questions of agency and access in relation to phenomenological cinema. In addition, Lazard inverts Kunstverein Braunschweig’s spatial logic by implementing architectural interventions that fundamentally change how audiences navigate the building. In historic buildings, physical barriers to access are normally regulated by Braunschweig’s historic preservation codes. Alternatively, artistic interventions are permitted to make minor changes to historic buildings. For this exhibition, Lazard developed Remise ramp (2021), a ramp connecting two rooms, and Remise signs (2021), an alternative sign system directing visitors to the back door of the space. Both works will provisionally remain after the exhibition is over.
Hintertür will be extended by a discursive program of readings, film screenings, and talks that deepen questions about facilitation and meditation. Accompanying the exhibition, an artist's book will be published with new texts by the poet and artist Joselia Hughes.
Carolyn Lazard (*1987 USA) recently realized solo and duo exhibitions at Essex Street, New York (2020) and at Shoot the Lobster, New York (2018, in collaboration with Juliana Huxtable). A solo exhibition at the Walker Art Center will follow in 2022. The presentation at Kunstverein Braunschweig is Carolyn Lazard’s first institutional solo exhibition in Europe.
Curator: Nele Kaczmarek