Task, 2000
A look into the possibility of male hysteria, 2000, 1 min
Lasse Lau (born 1974 Denmark) is a queer and social activist, visual artist and filmmaker based in Brussels and Copenhagen. He studied at the Whitney Museum of American Art Independent Study Program in New York and at the Funen Academy of Fine Art in Denmark.
"Agency of Public Resources" (APR) is the imaginary common subject matter from which most of Lau's recent interdisciplinary art and film projects originate. It is an agency that through the means of art and collectiveness accumulates on site knowledge, and through dialogue facilitates re-negotiations of space and democracy.
His work continues to expose the amnesia of today's crises in the global economy, and the parallel social displacement in spatial terms. Lau often insists on the participation of the viewer in the aesthetic production. He believes that this will opens up the possibility for art to resonate in a different and more critical relation to the subject matter. He seeks to utilize aesthetics as a framework that can open dialogical paths for social change.
Lau has exhibited in Hamburger Bahnhof and Wolfsburg Kunstverein in Germany, Aarhus Art Museum and Brandts Klaedefabrik in Denmark, The Museum of Contemporary Art in Croatia, The Turin Biennial of Contemporary Art in Italy, the Contemporary Museum in Baltimore, Smack Mellon Gallery and PS1 Contemporary Art Center in New York.
A look into the possibility of male hysteria, 2000, 1 min
What happens if you had an audience while castrating your self. The spectacular of losing phallus. 1998, 1 min
Kran Film receives DIVA grant by the Danish Arts Council. It will be used for a 4 month residency for the New York based Camel Collective in Copenhagen/ Aarhus Denmark 2010. They will among other produce a film. They write…those ambivalent forms of shared warmth—of a coffee between two, a cigarette between strangers, or clandestine nuzzling in a theater—these are the moments of exchange familiar to anyone familiar with revolutionary films from Vertov to Kiarostami. The question that these cinematic gestures will invite are of an ambivalent nature: are the moments of pauses and exchanges—of breath for smoke—a symptom of alienation, an exhibition of powerlessness, or are they moments of detainment from the official custody of documentary realism, and thus from the realism demanded in the discourse of social change and radicalism itself?