Pedro Lasch’s Abstract Nationalism / National Abstraction: Part 5

Today artist Pedro Lasch premiered his work Abstract Nationalism/National Abstraction: Anthems for Four Voices at The Phillips Collection as part of the International Forum Weekend in Washington. In this audio-visual performance, national anthems of specific countries are sung in the language of the country listed alphabetically after it in the World Almanac.

In a six part blog series, Curatorial Intern Lauren Reuter asks the artist about this work and how it fits into the Phillips, art, and politics. Read Part 1 herePart 2 here, Part 3 here, and Part 4 here.

How do you envision the project’s relationship with this audience? What do you want your audience to come away with?

I try to make work that is for a wide range of ages and backgrounds. The range is really important to me and the work is designed to do that. And that full range for me also includes the unsuspecting audience member who came either to the International Forum event or came to the Phillips that day and encounters the work; they stumble upon the work and don’t know what the background is. It may be someone who works at the embassies and came to the Phillips, or someone who may have absolutely no interest in national culture or nationalism.

Performance of Abstract Nationalism / National Abstraction

Performance of Pedro Lasch’s Abstract Nationalism / National Abstraction Composition No. 20 and 46 in The Phillips Collection Music Room

But with this project, the raw materials of national symbols and songs are materials that most of the people of the world, on this planet, have to care about. We don’t have a choice. Whether you like it or not, you had to at one point come to terms with being associated with your flag and anthem. When you encounter something that uses a flag, whether it’s a Jasper Johns artwork or an ad on TV, you have a connection with it. Hopefully that connection will let us bring in all kinds of audiences that don’t usually engage with social practice work or with the Phillips, necessarily. But it should also open up people who may be used to visiting the Phillips only to see modern art, or in the case of the International Forum, a conference. This may become the first social practice artwork they are a part of. That’s really the beauty of it, and that’s why I make the art. It’s not that I just enjoy the process, but that I don’t know the answers. To me, the response of a kid who speaks Spanish at home and can sing the US national anthem for the first time in this language is as important as a scholar of contemporary art practice who may hate anthems and flags and be very uncomfortable by the whole situation.

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