Carolyn Lazard

Carolyn Lazard

Two-way

Artists Space, New York City, NY, USA

February 28 – May 10, 2025

[A darkened gallery space with a video projection centered on a dark blue wall. The projection depicts a close-up of a black birthing mannequin reclined on a hospital bed in a blue patient room. A newborn mannequin swaddled in a hospital receiving blanket lays on the birthing mannequin’s chest.]

[A darkened gallery space with a video projection centered on a dark blue wall. The projection depicts a close-up of a black birthing mannequin reclined on a hospital bed in a blue patient room. A newborn mannequin swaddled in a hospital receiving blanket lays on the birthing mannequin’s chest.]

Carolyn Lazard

Whitney Biennial 2024: Even Better Than the Real Thing

Whitney Museum of American Art, New York City, NY, USA

March 20 – August 11, 2024

[In an exhibition space, a geometric sculpture consists of several mirrored medicine cabinets, each with a matte translucent surface on the inside. The cabinets are arranged in a zigzag pattern on the wooden floor. The mirrors reflect each other, the texture of the floor and the surrounding light, creating subtle changes in the appearance of the space. The reflective surfaces distort the environment, making it feel dynamic and fluid.]

[In an exhibition space, a geometric sculpture consists of several mirrored medicine cabinets, each with a matte translucent surface on the inside. The cabinets are arranged in a zigzag pattern on the wooden floor. The mirrors reflect each other, the texture of the floor and the surrounding light, creating subtle changes in the appearance of the space. The reflective surfaces distort the environment, making it feel dynamic and fluid.]

Carolyn Lazard

Long Take

[Three cube television monitors display monochrome black screens with white subtitles. From left to right, the subtitles read: "Expand volume.", "[floor creak]", and "Steps on tiptoes." The subtitles correspond to a recorded reading of a dance score, narrating both the movements and breathing of a dancer, along with an audio description.]

[Three cube television monitors display monochrome black screens with white subtitles. From left to right, the subtitles read: "Expand volume.", "[floor creak]", and "Steps on tiptoes." The subtitles correspond to a recorded reading of a dance score, narrating both the movements and breathing of a dancer, along with an audio description.]

Carolyn Lazard

Biennale Arte 2022: The Milk of Dreams

Cecilia Alemani

The 59th International Art Exhibition, La Biennale di Venezia, Venice, Italy

April 23 – November 27, 2024

[An exhibition space with white walls and a cement floor filled with objects. On the left of the space is an upright brown La-Z-Boy chair tilted forward toward the right wall, revealing the metal armature supporting its uprightness. In the center of the space further back and to the right of the chair is a white ceramic sink that sits upright atop a brown stand with wheels. The sink, with its basin facing forward, approximates the overall shape and form of an old television. In the far right corner is a cluster of three standing air purifiers. On the wall on the left is a white ceramic sink hung vertically with its basin facing the center, approximating the overall shape and form of an old television. On the opposite site wall is a brown framed drawing. In the center of the back wall a smaller object is hung at the wall.]

[An exhibition space with white walls and a cement floor filled with objects. On the left of the space is an upright brown La-Z-Boy chair tilted forward toward the right wall, revealing the metal armature supporting its uprightness. In the center of the space further back and to the right of the chair is a white ceramic sink that sits upright atop a brown stand with wheels. The sink, with its basin facing forward, approximates the overall shape and form of an old television. In the far right corner is a cluster of three standing air purifiers. On the wall on the left is a white ceramic sink hung vertically with its basin facing the center, approximating the overall shape and form of an old television. On the opposite site wall is a brown framed drawing. In the center of the back wall a smaller object is hung at the wall.]

Carolyn Lazard

Hintertür

Kunstverein Braunschweig, Braunschweig, Germany

May 22 – July 25, 2021

[In a white exhibition space, a green door stands wide open on the right, its swing obstructed by a wooden doorstop of the same color. On the back wall, centered beneath a heater and in front of the window, there is a flower arrangement on a ledge. The arrangement features tree branches with purple blossoms and dark green leaves. On the left wall, opposite the flowers, are two identical objects resembling fireplaces, mounted on electrical cabinets. The wood is charred, with the flames glowing brightly.]

[In a white exhibition space, a green door stands wide open on the right, its swing obstructed by a wooden doorstop of the same color. On the back wall, centered beneath a heater and in front of the window, there is a flower arrangement on a ledge. The arrangement features tree branches with purple blossoms and dark green leaves. On the left wall, opposite the flowers, are two identical objects resembling fireplaces, mounted on electrical cabinets. The wood is charred, with the flames glowing brightly.]

Carolyn Lazard

Whitney Biennial 2019

Whitney Museum of American Art, New York City, NY, USA

May 17 – October 27, 2019

[In a white space with a light wood floor, a beige hospital television monitor attached to a beige mechanical arm is mounted to the wall and extends outward. Below it, a matching wooden bench sits against the wall. From this perspective, the monitor is facing the wall and the bench.]

[In a white space with a light wood floor, a beige hospital television monitor attached to a beige mechanical arm is mounted to the wall and extends outward. Below it, a matching wooden bench sits against the wall. From this perspective, the monitor is facing the wall and the bench.]

Press

CV

Solo Exhibitions

  • 2025

    • Trautwein Herleth, Berlin, Germany (forthcoming)
    • Two-way, Artists Space, New York, New York, USA

  • 2023

    • Long Take, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA
    • Long Take, Nottingham Contemporary, Nottingham, UK

  • 2022

    • Long Take, Walker Art Center, Minneapolis, Minnesota, USA

  • 2021

    • Hintertür, Kunstverein Braunschweig, Braunschweig, Germany

  • 2020

    • SYNC, Maxwell Graham/Essex Street, New York, USA

  • 2018

    • Epigenetic: Juliana Huxtable and Carolyn Lazard, Shoot the Lobster, New York, USA

Group Exhibitions

  • 2026

    • Frida: The Making of an Icon, The Museum of Fine Arts, Houston, Texas, USA (forthcoming)

  • 2025

    • Homage: Queer lineages on video, Works from the Akeroyd Collection, The Wallach Art Gallery at Columbia University, New York, USA (forthcoming)
    • Donald Rodney: Visceral Canker (film program curated by Richard Birkett), Whitechapel Gallery, London, UK
    • Shelf Life, Trautwein Herleth, Berlin, Germany
    • Embodiment, Western Washington University, Bellingham, Washington, USA

  • 2024

    • Queer Durations, Brown Arts Institute, Brown University, Providence, Rhode Island, USA
    • Air de repos (Breathwork), Capc musée d’art contemporain, Bordeaux, France
    • Movements Toward Freedom, Museum of Contemporary Art Denver, Colorado, USA
    • For Dear Life: Art, Medicine, and Disability, Museum of Contemporary Art San Diego, California, USA
    • This Must Be the Place: Inside the Walker’s Collection, Walker Art Center, Minneapolis, Minnesota, USA
    • Film, Haubrok Foundation, Berlin, Germany
    • Whitney Biennial, The Whitney Museum of American Art, New York, USA

  • 2023

    • Mimesis, Galerie Barbara Weiss, Berlin, Germany
    • NGV Triennial, National Gallery of Victoria, Melbourne, Australia
    • Interdependencies, Migros Museum für Gegenwartskunst, Zürich, Switzerland
    • the collection. curated by krist gruijthuijsen, Haubrok Foundation, Berlin, Germany
    • at the kitchen table 2, Ark Foundation for the Arts, Baroda, India
    • Long Story Short, Museum of Contemporary Art Los Angeles, California, USA
    • Non Performing, Museet for Samtidskunst, Roskilde, Denmark
    • signals... : signals...folds and splits, Para Site, Quarry Bay, Hong Kong
    • On the Value of Time, Museum Ludwig, Cologne, Germany
    • World as diagram, work as dance, Emalin, London, UK
    • Housing, A Tale of a Tub, Rotterdam, Netherlands
    • on affairs, Halle für Kunst Steiermark, Graz, Austria
    • Changes, Mumok, Vienna, Austria
    • Hyper Functional, Ultra Healthy, Somerset House, London, UK

  • 2022

    • The Milk of Dreams, 59th International Art Exhibition at la Biennale di Venezia, Venice, Italy Beneath Tongues, Swiss Institute, New York, USA
    • Kingdom of the Ill, Museion, Bolzano, Italy
    • While we are embattled, Para Site, Quarry Bay, Hong Kong

  • 2021

    • Activating Captions, ARGOS Centre for Audiovisual Arts, Brussels, Belgium
    • An apology, a pill, a ritual, a resistance, Remain Modern, Saskatoon, Canadaat the kitchen table, 1Shanthiroad Studio/Gallery, Shanthi Nagar, Bangalore, India
    • Church for Sale, Hamburger Bahnhof - Museum für Gegenwart, Berlin, Germany
    • Climate Changing: On Artists, Institutions, and the Social Environment, Wexner Center for the Arts, Columbus, Ohio Crip Time, Museum Für Moderne Kunst, Frankfurt, Germany
    • Greater New York, MoMA PS1, Long Island City, New York, USA
    • Jordan Lord: Prophetic Memory, Artists Space, New York, USA
    • Schaufenster, Kunstverein München, Munich, Germany
    • Soil.Sickness.Society, Kunsthal Rønnebæksholm, Næstved, Denmark
    • Sorting Things Out, Galerie Max Mayer, Dusseldorf, Germany
    • Sweaty Concepts, Williams College Museum of Art, Williamstown, Massachusetts, USA
    • The Earth Is Flat Again, Muzeum Sztuki in Łódź, Łódź, Poland
    • The Holding Environment, Bonner Kunstverein, Bonn, Germany
    • This Set of Actions is a Mirror, SAIC Gene Siskel Film Center Virtual Cinema, Chicago, Illinois, USA
    • Zeros and Ones, KW Institute for Contemporary Art, Berlin, Germany

  • 2020

    • Antibodies, Palais de Tokyo, Paris, France
    • Colored People Time, MIT List Visual Arts Center, Cambridge, Massachusetts, USA
    • Frank Walter, Museum fur Moderne Kunst, Frankfurt, Germany
    • Haptic Feedback, Galerie Thomas Schulte, Berlin, Germany
    • Renaissance TV: Image. Sound. Text., The Renaissance Society, Chicago, Illinois, USA
    • The Body Electric, Miami Dade College Galleries of Art + Design, Miami, USA
    • The Phantom Moves Through Space And Through Different Bodies, Kevin Space, Vienna, Austria
    • When the Sick Rule the World, Gebert Foundation, Alte Fabrik, Rapperswil, Switzerland

  • 2019

    • MFA Thesis Exhibitions, Icebox Project Space, Philadelphia, USA
    • Absolute Thresholds, Galerie Francesca Pia, Zurich, Switzerland
    • Civic Duty, Cell Project Space, London, UK
    • Clipping the Din, Krinzinger Projekte, Vienna, Austria
    • Colored People Time, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA
    • Curriculum, EFA Project Space, New York, USA
    • Ebsploitation, Martos Gallery, New York, USA
    • Heroic in its Ordinariness, Crisp-Ellert Art Museum, St. Augustine, Florida, USA
    • Holding Pattern, Studio 10, Brooklyn, New York, USA
    • On Fire: Vulnerable Footage, SALTS, Basel, Switzerland
    • Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying, Red Bull Arts Detroit, Michigan, USA
    • The Body Electric, Yerba Buena Center for the Arts, San Francisco, California, USA
    • The Body Electric, Walker Art Center, Minneapolis, Minnesota, USA
    • Whitney Biennial, The Whitney Museum of American Art, New York, USA
    • Witness on our Behalf, Contemporary Art Centre (CAC) Vilnius, Lithuania

  • 2018

    • Beyond Measure: Daniel Cerrejón and Carolyn Lazard, Tiger Strikes Asteroid, Chicago, Illinois, USA
    • Five Sculptures, Maxwell Graham/Essex Street, New York, USA
    • Haptic Tactics, Leslie Lohman Museum of Gay and Lesbian Art, New York, USA
    • Health Show II, A.I.R. Gallery, Brooklyn, New York, USA
    • If you can’t share no one gets any, Carolyn Lazard and Collective Text, LUX, London, UK
    • more of an avalanche, Wysing Arts Centre, Cambridge, UK
    • Post Institutional Stress Disorder, Kunsthal Aarhus, Denmark
    • Take Care: Collective Welfare, Blackwood Gallery, University of Toronto, Canada
    • That Which is Fundamental, The Kitchen, New York, USA

  • 2017

    • Care, A Performance, Charlotte Street Foundation, Kansas City, Missouri, USA
    • Sick Time, Crip Time, Crazy Time: Against Capitalism’s Temporal Bullying Broadsheet, The EFA Project Space, New York, USA
    • Ragga Nyc: All the Threatened and Delicious Things Joining One Another, New Museum, New York, USA
    • That Which is Fundamental, Slought Foundation, Philadelphia, Pennsylvania, USA
    • Trigger: Gender as a Tool and a Weapon, New Museum, New York, USA

  • 2016

    • A new job to unwork at, Artspace, New Haven, Connecticut, USA
    • Care, a Rehearsal for a Performance, Roots and Culture, Chicago, Illinois, USA
    • Wynn Newhouse Awards Exhibition, Palitz Gallery, New York, USA

  • 2015

    • Carolyn Lazard and Vanessa Haroutunian, My Teenage Dream Ended, Brooklyn, New York, USA
    • Initial Conditions: Artists Make Spaces, Franklin Street Works, Stamford, Connecticut, USA
    • Peephole Cinema, UnionDocs, New York, USA
    • Wendy’s Subway Reading Room, New Art Dealers Alliance, New York, USA

  • 2014

    • Canaries, Cleopatra’s, Brooklyn, New York, USA
    • Former Islands, Heliopolis, Brooklyn, New York, USA
    • Metanoia: Practices of Exhaustion, Grace Exhibition Space, Brooklyn New York, USA

  • 2013

    • Neuromast: Certain Uncertainty and Contemporary Art, Franklin Street Works, Stamford, Connecticut, USA
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