White Love, 2017  Blacklit pencil an human milk  20 x 40 x 10 cm

White Love, 2017

Blacklit pencil an human milk

20 x 40 x 10 cm


Lisa Glauer at Kang Contemporary

In Lisa Glauer’s recently released leparello comic book, Broaching the Next Man Suit Barrier, a cultural “top dog” queries the artist in the story: “. . . are you a social practice artist or a painter?” Glauer’s current show at Kang Contemporary in Berlin answers the question by rejecting the dichotomy altogether. Rather, she insists on experimenting in all directions. Her immediate purpose here seems to be to explore— one might say expose—the patriarchal territory of weaponry, drones and technical installations. To do so, she works with a delicate yet robust medium—human milk (provided by a cadre of donors)—milk that initially hardly manifests on the semi-transparent paper. Only after the drawings have been ironed, we are given to understand, do the ivory lines give way to the almost tender ochre and brown tones, which reveal in turn an array of military hardware and the figures of the self-assured men who seem to be managing it. Layers of these images are then backlit with LEDs in a lightbox, a device that itself can be read as an extension of the technology in the drawings. The drawings map territory, marking borders and depicting technological interventions that can seem threatening. Yet, as I looked longer, the images became more distinguishable, less menacing. The milky lines seemed to soften; standing before one piece, Vorstoss zum oberen Erdmantel, my focus shifted to the figures of men in the foreground, apparent spectators to their own barriers and devices, small and merely human against the sweeping curves and geometric forms of technological icons. In the short film piece, Skyjacking Across Borders with Toy Guns, a helmeted, military clad man holds up his hands in a gesture that could be helpless before the observed event. There is both fierceness and mercy here in the way the artist assembles, renders and transmutes these images.

Glauer shows a range of media for this exhibition: drawings in milk and pencil; comics rendered through wonderfully analog linoleum prints; a neon light piece called monument against patriarchy; a short film; and the installation piece, Landing Strip for the Milky Way. The latter is constituted by a wooden frame supporting two neon-lit layers of translucent paper laid across stepped rungs; the whole piece transects the gallery both vertically and horizontally and becomes a landing strip for milk, poured from above and cascading tranquilly along the gradients of the paper (see video). The performance at the opening was a quiet ritual; the milk ran and slowed, streamed and pooled its way down the incline. I pondered the title that invokes the notion of the heavens as well as images of astronomy. I considered the medium of human milk associated with kindness and nurturance but also highly contaminated, as we learn, in the border region of Tijuana/San Diego, where national boundaries are drawn with military technology. Glauer exposes the hardware of violence, but she is not seduced by it in the process; she does not respect or love it, nor does she hate or even make fun of it. Instead, through her selection of materials and actions, she sets the paraphernalia of aggression into the context of our human condition, summoning material from the intimate act of nursing as well as conjuring the immensity of our surroundings, the vast Milky Way. Thus she makes known the destructive power of that paraphernalia, yet weakens its mystique.

Text by Carolyn Prescott, April 2019


Lisa Glauer exhibits LED light panels of multi-layered drawings on paper in various shade of ochre yellow, dark orange, and brown, depicting the technological apparatus of the weapons industry. Her investigative research led her to the urban border areas of SanDiego/Tijuana. Recently, the man-made steel border fence is being built up literally to wall-off the human migration. The increased impermeability, presence of massive industry, and physical density interferes with the natural flow of water. Additionally, these massive industrial and military productions have resulted in heavy damage to the environment and to the regional population. According to research by the Scripps Institute, human breast milk in SanDiego/Tijuana region has been determined to be the most contaminated in the world. The artist chose the contaminated human milk as an art material and applies the burning process to express the intersectional global, socio-political, and environmental issues.




  • artistic research scholar, Senate for Culture and Europe, Berlin (Recherchestipendium)

  • artistic research scholar, GedenkOrt, Charité, Berlin

  • University of the Arts, Berlin, Teaching as Deputy of W. Knapp (Vertretung in der Lehre)

  • Associated grant recipient,  Berlin School of Advanced Studies in Science and Art (Einsteinstiftung, BAS, Graduiertenschule)


  • Independent artist

Teaching as Associate Bauhaus-University, Weimar, MFA Program - Public Art and New Artistic Strategie

  • With (guest) professors Maja Bajevic, Inge’s Idee, Mary Jane Jakob, Boris Buden, Mika Hannula, Bojana Pejic, professors Liz Bachhuber, Danica Dakic and others

  • Concept and implementation of seminars in theory and practice in English for international postgraduate students from 18 different countries, see attached teaching summary

  • Initiating, co-developing and implementing local and international interdisciplinary projects

  • Co-planning and implementation of projects and excursions to Sarajevo, Athens, Herford, Kölleda, Düsseldorf etc.

  • Concept and implementation of the Monday Night Lecture Series

  • Part of the university wide: “Internationalization Strategy” – worked on several successful grant applications such as the DAAD grant for Bauhaus Goes South East Europe, DAAD grant Strategic Partnerships etc.

  • Elected representative for mid level academic labor conditions,

  • Appointed to the Examination and Advisory Committee, MFA

  • Appointed PhD Admissions Committee

2004 – 2009
Founder and artistic director www.arttransponder.net - artist run space in Berlin

  • Concept, Implementation of the Gallery Program focussing on participatory art projects at the interface to other disciplines

  • Projects, planning, fundraising  (ca. 500 000 EUR from 2004-2009) for further information, please view: www.arttransponder.net

Since 2002
Freelance work in Berlin

  • Independent Artist and initiator and coordinator of projects, translations and design of publications, in collaboration with art institutions and artists, see publications and projects list

2002 - 2003
Editor/Translator Raabe Fachverlag für Wissenschaftsinformation, Berlin

  • Online research of Institutional data for higher education etc.

  • Editing and translating for the academic publication “Funding Guide for International Students”

2000 - 2002
Director of Marketing - Pratt Institute, School of Art and Design, New York 

  • In charge of special events

  • Analysis und interpretation of demographic data for statistical purposes and affirmative action, developing diversity

  • Coordination of presentations for US locations across the country

  • Hiring and coordinating 30 student workers and eight administrative staff persons


2015 PhD in Art and Design (summa cum laude)  Bauhaus-Universität, Weimar Title: Later she will build nuclear warships…
Military and Industry Apparatus in Human Milk as Drawing Material   
2010-2014 Bauhaus-Universität, Weimar Courses in teaching in higher education, problem oriented learning and diversity/internationalization 
2002 - 2004 M.A. University of the Arts, Berlin / Institute for Art in Context Thesis:  BioArt
2000 - 2002 M.Sci. Pratt Institute, Brooklyn Thesis: Rosemarie Trockel, A Transatlantic Perspective
1998 - 2000 M.F.A. Pratt Institute, Brooklyn - Thesis: Painting as Embodied Subjectivity
1995-1998 B.F.A.  (magna cum laude) School of Art & Design, SUNY Purchase, New York Thesis: An Essay in Painting Abjection

2017 Artistic Research Grant, Senate for Culture and Europe, Berlin
2017 IFA Institute für Auslandsbeziehungen, research grant for travel to the border region, Tijuana/San Diego
2016 Selected as Associate Member of the Berlin School of Advanced Study in Science and Art, Einstein Foundation, BAS, UDK
2016/17 Tunnel Below, Skyjack Above: Deconstructing Border - NGBK Grant for research and exhibition project
2014 University Prize based on recommendation of faculty of Art and Design, based on artistic merit. Awarded to one Bauhaus-Universität artist teaching as associate every two years.
2014 DAAD sponsored research at University of California in San Diego
2014 Enjoy (Y)our State of Emergency NGBK Grant as part of the group to implement a project focusing on antifascist activism and art in Athens and Berlin
2013 Resident artist – Experimental Drawing Studio- University of California in San Diego DAAD (German Academic Exchange) funded
2012 1 year Grant to complete PhD Research Bauhaus-Universität, Weimar
2011-2012 Selected for Mentoring Program Women in Science and Art, Bauhaus-University, Weimar
2009 - 2010 Oszillogramme Fund for Women and Goethe Institute, Budapest
2008-2009 RE:Positionierung NGBK grant as part of the group Re:/Positioning, Critical Whiteness and Positions of Color
2007-2008 Jellibelly: Phase 1 Kunsthaus Gravenhorst Grant for the production of the Jellibelly – Bauchpinselmaschinenservice (with Käthe Wenzel)
2007 Jellibelly: Phase II Kulturamt für dezentrale Kulturförderung, Mitte Project grant, Berlin
2001 Artists Talk on Art, Manhattan, New York “Curator's Choice Award”



2018 Material Talks Back OKK, Berlin  
2017 Plotting for Borderliners, Neuer Ravensburger Kunstverein, Ravensburg 
2016 Domestic Warscapes, Alfa Nova/Futura municipal gallery, Berlin
2013 Milk as Invisible Ink - San Diego/Tijuana  Experimental Drawing Studio, University of California San Diego 
2013 Später baut sie Atomschiffe Okk Berlin, in collaboration with the European Society for Research and Art 
2008 Jellibelly Mietfrei Phase 2 - arttransponder, Berlin (with Käthe Wenzel)
2007 I’ll be Your Paintbrush - Kurt im Hirsch Gallery, Berlin 
2004 Mammamil ICH-AG - Neukölln, Berlin 
2003 Looking for Donors - Kurt im Hirsch, Berlin 
2002 Beautiful Claustrophobia - Kurt im Hirsch, Berlin 

2018 Beating the February Blues, Ballery, Berlin
2017 White Love, Ballery, Berlin
2017 Walking from Frauenklinik to Futurium. In: Close. Never Closer. Curated by Jan Verwoert, BAS/UDK
2017 Skyjacking above, Tunneling below – deconstructing Border, ngbk, Berlin 
2017 Mirages, Effects, Distractions – Border as Aseptic Stage
Salon für ästhetische Experiments, BAS, Haus der Kulturen der Welt, Berlin, with Rajkamal Kahlon and Hillary Mushkin
2017 The Woman in Me, Ballery, Berlin 
2017 Deconstructing Border, Premiere of the films “Fever – An/Amnesia” (Glauer/Wessolek)
Präsentation Cine Tonala, Tijuana
2017 Bodylandscapingtime, conceptualized, initiated and implemented in collaboration with the Institute for Art in Context, UDK, GedenkOrt.Charité and Neue Gesellschaft für Bildende Kunst, Berlin.
2015 Out of (B)order – conference/workshop, Bauhaus-Universität, Weimar, UCSD
2015 NoExit, international exhibition project at OKK, Berlin.
2015 Fucked, in Selected, Haus am Horn, Weimar
2014 Drawing Across Disciplines, initiated transdisciplinary workshop with UCSD, DAAD funded.
2014 Enjoy (Y)our State of Emergency, ngbk, Berlin, exhibition and performance.
2013 AKW (Auktions Kommittee Wedding) - Athens Biennial, curated by Kostis Stafylakis, Christian Oxenius
 (Robert Huber, Pablo Hermann, Lisa Glauer, with Angeliki Makri as Fortuna/Europa) 
2012 Nano/Macro/Mega - Department of Structural Engineering University of California in San Diego (UCSD)
2012 Public Strategies - Bauhaus University, Weimar, with the Department of Structural Engineering, UCSD
2011 Beyond Re/Production - Kunsthaus Bethanien – major installation (group)
2011 Männerbilder - Galerie Amalien, Berlin (group)
2010 The Art of Survival  - DA Kunsthaus Gravenhorst (group)
2010 Pushing the Elastic Cube - arttransponder (group exhibition project)
2009 The Chemistry of Traveling Myths - RE/linking/Oscillogrammes - Goethe Institute, 2b gallery, Budapest.
Conception, Artists Talk, Exhibition and Performance (group)
2009 Hairy Buttons - Evidence und Ambivalence of Men’s Suits Symposium, University Oldenburg - Performance 
2009 Metanationale RePositionierung - arttransponder, Berlin (group)
2009 RePositionierung. Critical Whitness/Positions of Color. ngbk, series of events.
2007/2008 Jellibelly, Adjusting our Art to Your Needs Phase 1 -Kunsthaus Gravenhorst, Performances Bern, Berlin etc. 
2007 I need to be Touched - Notes on Places, Kunsthalle Lichtenberg, Berlin (group)
2007 Milky Images – arttransponder (group)
2006 Missing Link, Schafler Gallery, N.Y. - Initiator and organizer of the exchange with Pratt Institute (group)
2005 Milk Platform – Missing Link - Museum of Medical History, Berlin (group)
2004 Fresh’n Natural Mabumamma - Futura Gallery, Prague. Catalogue with texts by Nicolas Bourriaud und Jens Hoffmann
2003 NeoKölln - Kulturamt Neukölln – Installation.
2005 Infomercial - arttransponder, exhibition, film and installation, Berlin
2004 Reinkommen - Public Intervention, National Gallery, Berlin. (with Tatjana Fell)
2004 Four Questions - Werkleitz Biennale, with Bik Van Der Pol, School of the Missing Studies
2003 Of One Who Stepped Out (of her clothes) Transportale, Berlin (public art, with Mario Rizzi)
2001 Artists talk in Art, Denise Bibro Gallery, 4 person show, New York

Erinnern und Vergessen, Bebra Verlag
Tunnel Below/Skyjacking Above, Serie Border City, Hg. Liz Bachhuber, Margarita Garcia, Bauhaus-Universität Weimar, 2018 (in Arbeit)
Pleasing Machines, Lisa Glauer und Helge Oder, in: Half Life, Hg. Käthe Wenzel und Manfred Blohm, Europa Universität, Flensburg, fabrico Verlag, Hannover, 2018 (in Arbeit)
Skyjacking Across Borders with Toy Guns, Katalog/Zeitung zum Ausstellungsprojekt Tunnel Below, Skyjack Above, Deconstructing Border. Neue Gesellschaft für Bildende Kunst, Berlin, 2017.
„...Später baut sie Atomschiffe.“ Dissertationsschrift. Mensch und Buchverlag, 2017.
Bodylandscapingtime. Kuratorischer Text, ngbk Zeitung, in Zusammenarbeit mit Institut für Kunst im Kontext und GedenkOrt.Charité, 2017.
Domestic Warscapes. Katalog, mit Beitrag von Kathrin Ganser. Alphanova - Galerie Futura, Berlin, 2016.
Ausgewahlt. Bauhaus-Universität, Weimar, 2016. 
Invisibilities at the Edges In: Border City. Documentation of an interdisciplinary project in San Diego (USA) and Tijuana (Mexico). Bauhaus-Universität, Weimar, 2015. 
Parameters of Teaching the artist as Global Nomad. In: What I can not know about you,. Bauhaus- Universität Weimar/DAAD, 2015 
Process. Not Solution. Text on Democracy, Memorials and Public Art in Kolleda, Thüringia.  
Garbage Talk or Talking Garbage: Refuse, Location and the Body in Art. In: Entrop(h)y. Hg. Bachhuber, Bidlingmaier. Bauhaus-Universität, Weimar, 2012. 
Mammamil In: Beyond Reproduction. Revolver Verlag, Berlin, 2011. Mit Texten von Silvia Federici, Gabriele Winkler et al. 2011 
Citymap With Danica Dakic, Nadin Reschke. Bauhaus-Universität, Weimar, 2010. Pushing the Elastic Cube – Mobile by Circumstance. Arttransponder.net, 2010 
Hairy Buttons. In: Kunst und Leben, Partizipatorische Kunst zwischen Autonomie und Intervention. DA Kunsthaus Gravenhorst, 2010 
Geschlecht- spezifische (Neu)zuschreibungen an Frauenmilch in der Kunst. In: Barbara Thiessen, Paula Irene Villa: Mediale Inszenierung von Elternschaft, Hg. Thiessen, Villa, Dampfbootverlag, Hannover, 2009. 
(Un)mediated Reactions In: Lisa Glauer, Käthe Wenzel, Tatjana Fell (Hg.): Gratwanderungen zwischen Kunst und Naturwissenschaften.. UDK Verlag, Berlin, 2008. 
Fell und Lundström lassen Andere durch den Raum Tentakeln. In: Tatjana Fell und Nina Lundström (Hg.):Auf dem Boden der Zeit. Mensch und Buch Verlag, Berlin 2008. 
Adjusting our Art to your Needs. In: Käthe Wenzel und Lisa Glauer (Hg.): Jellibelly – Bauchpinselmaschinenservice, Berlin 2008. 
With the Door into the House: Naturally Authentic. In: Tatjana Fell, Lisa Glauer, Anna Zosik (Hg.): Postproduction Dialog. Berlin, 2005. 
Mabumanna. In: Wolfgang Knapp, Käthe Wenzel, Cornelius Frömmel (Hg.): MISSING LINK – Kunst trifft Biomedizin. UdK Verlag Berlin 2005. 
Mabumamma. In: PLUG IN – curated by Mario Rizzi, text by Eva Neklyaeva, includes an introduction by Nicolas Bourriaud. Fine Arts Unternehmen, Zug, 2004 
The Missing Corner. In: Eva Sturm (Hg.): Wo kommen wir da Hin? Berlin 2005.

2018 What art can do when the powers that be resist change? with Kersten Ergenzinger, Marco Donnarumma, Bnaya Halperin-Khadderi, Zeynep Tuna and Nino Klingler, Darsha Hewitt, Clarissa Thieme, Kiran Kumar, moderated by Jan Verwoert. Haus der Kulturen der Welt.
2018 Material Resists Concept, Painting Beyond Futurium, Trondheim Academy of Art, trial lecture for Associate Professorship in Painting and Beyond
2018 Teaching with Two Bodies, shared with Rajkamal Kahlon, Berufungsvortrag W2 Professur for Basisklasse, 
Kunsthochschule Kassel
2017 Shapeshifting between Medicine and Art. In: Herbsttagung, Wissenschaft in Verantwortung. GedenkOrt.Charité, Berlin
2017 Mirages, Effects, Distractions. Salon für ästhetische Experimente,  Haus der Kulturen der Welt
2017 artist talk, Neuer Ravensburger Kunstverein, Ravensburg
2017 Präsentation Deconstructing Border, mit POLEN collective, Cine Tonala, Tijuana
2016 Erinnerungsweg GedenkOrt.Charité, Berlin
2016 How to Throw the Grenade, Haus am Lützowplatz, Berlin
2016 Kunst im öffentlichen Raum, Ringvorlesung Wissenschaft in Verantwortung, Charité, Berlin
2016 Artist Talk, alpha nova/futura kommunale Galerie, Berlin
2015 Argumente, kuratiert von Inez Weitzmann, Bauhaus-Universität Weimar, mit Ricardo Dominguez, University of California in San Diego
2014 Performative artist talk, EMBROS, mit Kostis Stafylakis, Athens
2013 Performative artist talk, Experimental Drawing Studio
2012 "...later, she will build nuclear vessels." Nano/Macro/Mega Workshop Department of Structural Engineering, University of California, San Diego, California, moderated by Benjamin Bratton
2011 Indistinguishability as Exhibition Strategy. Public Strategies, Art and Technology, Bauhaus-Universität Weimar/UCSD Research Projects between Art, Science and Technology
2011 Garbage Talk or Talking Garbage; Refuse, Location and the Body in Art. Entrop(p)y.Symposium, Bauhaus-Universität. Weimar
2010 Milky Images, Presentation on Research into the Abject and Materiality. Paneldiskussion zum Grotesken, mit Winfried Menninghaus, Nanako Nakajima
2009  Hairy Buttons als behaarte Accessoires; Männlichkeit als modische Prothese.
with Käthe Wenzel. Symposium: Evidenz und Ambivalenz des Herrenanzuges. Institut für kulturwissenschaftliche Geschlechterstudien, Oldenburg
2009 The Chemistry of Travelling Myths Symposium: Oscillogrammes. Goethe Institut Budapest
2009 The Inbetween artists talk - Monday Night Lecture, ACC Weimar
2007 International Conference: Mütter – Väter, Elternschaft zwischen medialen Inszenierungen und alltäglichen Praxen. Paula Irene Villa and Barbara Thiessen, Leibniz Universität Hannover