Born in Aarhus, Denmark 1969.

Lives and works in Chicago, by way of Amsterdam.

 

Lise Haller Baggesen’s hybrid practice includes writing, painting,

installation, performative, sartorial, and textile-based work.

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Baggesen is an alumna of Billedskolen, Copenhagen (1989-91), AKI

in Enchede (BFA PTDW 1992-95), the Rijksakademie in Amsterdam

(1996/97), SAIC (MAVCS 2011-13), the Banff Centre for Arts and

Creativity (2017). She is the recipient of Prins Bernhard’s Culture Prize (2000), the Royal Dutch Prize for Modern Painting (2002), and a 2015 nominee for The Joan Mitchell Foundation’s Emerging Artist Grant.

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She exhibits internationally, including 6018 North, the Poetry Foundation, MCA, DPAM, and AIC, Chicago (IL); The Suburban, Milwaukee (WI); Gemeentemuseum Den Haag (NL); Overgaden (DK); Württembergischem Kunstverein (D); MoMu Antwerp(B); Théatre de la Ville de Paris, Le Confort Moderne, Poitiers, and Villa Arson, Nice (F).

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Her book and multi-media project Mothernism (2013) toured

extensively, staking out the “Mother-shaped Hole in Contemporary

Art Discourse” at (amongst others) The Poor Farm (WI), The

Contemporary Austin (TX), VOX Populi (PA), EFA and A.I.R. Gallery

(NY). It was reviewed in Art21, KQED, and Hyperallergic and

spawned the international symposia The Mothernists I+II in

Rotterdam (2015) and Copenhagen (2017).

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HATORADE RETROGRADE, a dystopian vision of the U.S. anno 2033,

debuted at Threewalls (IL) in 2016, with an Artforum Critic’s

Pick: “As if the world had fallen apart but the party persisted,

this moody boutique peddles a survivalist feminism that cuts

across styles, layering glam with grunge, pop with punk.” The

autonomous sequel, HATORADE RETROGRADE: The Musical imagines the

Bay Area in 2069. Produced by Southern Exposure (CA) it premiered

at McLaren Park in San Francisco in 2019 and will travel to

Gallery 400 in Chicago (IL) in 2020. The femi-futurist

extravaganza was reviewed in Art Practical: “In blending 1960s

counterculture nostalgia and futuristic fiction, the performance

imploded the boundaries between speculative narrative and the

surreal elements of reality.”