Skyjacking Across Borders with Toy Guns part I, panels
Skyjacking Across Borders with Toy Guns, 2017, part I (go to part II)
8 panels, 60 x 120 cm, spans 498 cm when hung together 3 layers, backlit with standard LED panels, painted in human milk on paper, burnt to visibility with an iron. The milk was collected around the border region in San Diego, where it can be ordered online.
Below, full Panoramic view.
The painting shows two superimposed border regions, the current US Mexican Border at the San Diego/Tijuana region and the former border between east and west in Berlin, which is in the foreground. Zooming in, you can recognize the Bundesministerium für Bildung und Forschung, Berlin, right next to a gap where now the so called Futurium has been built (panel 2 and 3, upper half). This is where our future is being conceptualized.
Different degrees of opacity are rendered more or less transparent by the light shining through the layers of paper from behind them. This work is part of the series ‘Skyjacking’ and was on display at The Ballery, nGbK, OKK Berlin and Kang Contemporary.
Above: on view at neue Gesellschaft für bildende Kunst, Berlin, in: Tunnel Below, Skyjack Above: Deconstructing Border, 2017. Skyjacking Across Borders with Toy Guns, part I is featured in the following publications:
Border City, chapter II. Bauhaus-Universität, Weimar. It is extensively featured in: Are you a Social Practice Artist or a Painter? Monograph, with an introductory text by Kathrin Ganser. Revolver Verlag, 2019.
"Lisa Glauer works with variability and dimensions of meaning on her images, and at the same time she develops her work in an associative way. So we find different inter-connectivities of meaning for example from film-stills (“Five men at Atomic Ground Zero“) technological drawings (“Jugend und Technik“, Industrial drawings, war machinery, drones etc.), mental mappings, images from anatomical books, images from the internet (for example landscape photography from San Diego) that she assembles like a collage. Her material is human breast milk, adding another level to the associative dimension. The image language she uses generally departs from a distinct and one-dimensional symbolism and thereby remains open to interpretation. The knowledge about the source of the images used that she lays bare in her research work produces a cosmos of inter-connectivities of meaning and new interpretations of the work.In the work “Fucked“ she refers, among other things, to the border between the US and Mexico close to San Diego, spreading the theme of national boundaries into larger fields of a histories of political power, power structures and staging."
And was reviewed by Anneli Botz in Kunstforum for Tunnel Below, Skyjack Above. Deconstructing Border. nGbK 2017.
"...So am Beispiel von "Skyjacking Across Borders with Toy Guns" der Künstlerin und Kuratorin Lisa Glauer, deren künstlerische Praxis bei einer ersten Begegnung einer gewissen Irritation nicht entbehren. Sie malt Bilder der Militarisierung von Waffen und Grenzsoldaten mit Muttermilch, die sie in der Region um San Diego im Internet bestellt. "Muttermilch ist der Inbegriff von Reinheit, von unbelasteter Natürlichkeit. Nicht so in der Gegend von San Diego, wo Mauerbau und Militarisierung die Umwelt extrem verschmutzen und in der sich die chemische Belastung der Muttermilch im Labor nachweisen lässt." so die Künstlerin und Kuratorin Margarita Certeza Garcia."
Anneli Botz, Kunstforum International, Teil 2, 250.
Above left: panels 4-8 hung on an angle in the rear corner, forming an inverted cube. Top level: F***ed. (Vorstoss zum oberen Erdmandel. 2015). On view in: Landing Strip for the Milky Way @ Kang Contemporary, 2019. Right: full installation view, including Skyjacking Across Borders with Toy Guns, video, 2017, rear wall. ( With Transborder Immigrant Tool, b.a.n.g. collective in the foreground @ nGbK, 2017)
Above left wall: Skyjacking Across Borders with Toy Guns. Rear wall: Diptych F***ed. (Vorstoss zum oberen Erdmantel), 2015. in: Material Resists Concept at Organ Kritischer Kunst, Prinzenallee 29, Berlin, 2018