Larissa Fassler was born in 1975 in Vancouver (CA). She lives and works in Berlin.
For the past 18 years, Larissa Fassler has been creating works of art that document and interrogate the geo-spatial politics of city life. With cartographic paintings and drawings, and architectural sculptures, she creates visualisations of the observable and intangible characteristics of a city, and document the complicated socioeconomic and cultural issues affecting urban space today.
Drawing on the tradition of psychogeography, she maps urban landscapes using her own body. She employs my own subjective systems to survey public spaces by walking their length and breadth, recording her corporeal experiences and spending hundreds of hours collecting detailed observations onsite as well undertaking archival and online research.
In recent years her work has become increasingly political, charting growing economic disparity, political divisiveness, gender and racialized segregation and violence. While each of her chosen regions, cities, suburbs, public sites is unique, together they reveal a network of intersectional relations that cannot be contained by bureaucracies, borders, or nations.
Her work is organized in series, built around specific urban sites: Columbus Circle (NYC 2017-2020), Regent Street (London 2009), La Gare du Nord (Paris 2014-2020), Alexanderplatz (Berlin 2006), Kotti (Berlin 2008-2014), Les Halles or La Place de la Concorde (Paris 2011-2020). She explores the threshold between space and volumes, the way they are invested and exploited.
Galerie Poggi has held three solo exhibitions of her work in 2011, 2016 and 2020. Her work has been shown abroad in numerous exhibitions at the Currier Museum in Manchester (2020), La Galerie, Centre d’Art Contemporain de Noisy-Le-Sec (2020), the Canadian Cultural Centre (2016), the Esker Foundation Contemporary Art Gallery in Calgary (2016), EPICENTRE (2015) and SEPTEMBER (2014) in Berlin (2015), Kunstraum Kreuzberg in Berlin (2013), Kunstverien Kristansand in Norway (2011), Kunsthalle in Dusseldorf (2011), Today Art Museum in Beijing (2008), etc.
Several critics have written about his work including Anaël Pigeat, Margaret Ewing, Oliver Koerner von Guskorf, Nedo Kito, Dominikus Müller…
Her work is part of several public collections including the Fonds régional d’art contemporain de la région Auvergne (FRAC), the Fonds municipal d’art contemporain de la Ville de Paris (FMAC), Staatliches Museum Schwerin, Deutsche Bank Collection, FPM collection, Berlin, Viersen National Library of Quebec, Artists book collection, Montreal.
A monograph of her work has just been published and is now available at DISTANZ.