After earning her BFA from the Universidad de Barcelona with an Erasmus scholarship to study abroad in Perugia, Italy, Lasurt completed a postgraduate in Aesthetics at the Universitat Autònoma de Barcelona. Lasurt has been an artist-in-residence at HISK (Ghent, Belgium); La Ene (Buenos Aires); Greatmore Art Studios (Cape Town, South Africa); Kunsthuis SYB (Friesland, Netherlands); and Hangar (Barcelona). In 2015 she was nominated for the Young Belgian Art Prize organised by BOZAR and in 2016 she won the Miquel Casablancas Prize organized by Sant Andreu Contemporari (Barcelona) in the Project category. She has been a member of the Leland Palmer collective since 2007 and is currently part of the Fine Art Research Programme at the Royal College of Art (London). Her major solo shows include Donació, part of the ‘Composicions’ programme curated by Latitudes (Barcelona Gallery Weekend, 2016); Promenade (105 Besme, Brussels, 2015); Grains Become Brittle (Anouk Vilain Gallery, Hasselt, 2015), Exercici de ritme (Galeria Joan Prats, Barcelona, 2014), Doble autorizació (Espai 13, Fundació Joan Miró, Barcelona, 2014); Amnesies (Espai2, Sala Muncunill, Terrassa, Spain, 2012) and El Gegant Menhir (Museu Abelló, Mollet del Vallès, Spain, 2011). She has also participated in group exhibitions such as La Biennal de Valls (Museu de Valls, Tarragona, Spain, 2017), La historia se repite más de dos veces (Sant Andreu Contemporani, Barcelona, 2016); Surprise (Netwerk, Aalst, Belgium, 2016); Red Dawn (HISK, Ghent, 2014) Write of Spring (Het Paviljoen, Ghent, 2014); A Whitsun Wedding (EL Galerie, Welle, 2014), Learn and Teach (Greatmore Art Studios, Cape Town, 2012).
Her work analyses paradigm shifts in society, politics and the art world. It contributes to historiography with local research-based projects and exercises of performative media-archeology, interacting with agents both from inside and outside the art institution. It formalizes through the use of different media in dealing with her subject matter; it can be painting, video, animation, punctual happenings or editorial components, usually to create polyphonic treatments willing to enmesh re-enactment, reflection and testimony.
At the Franz Masereel Centre she worked on a serial of litographs for ‘A Visit to the CP Nel Museum with Mo’ ( 22 drawings ink on paper, 22 lithographies and offset publication in the form of a comic book designed in collaboration with Lauren Grusenmeyer). Mo is the South-African cartoonist Mogorosi Motshumi, one of the principal exponents of South-African comic stripes since the last years of Apartheid. He has just finished his graphic auto-biography with the title '360 Degrees'. The CP Nel Museum was started with the private collection of a successful businessman from Oudtshoorn, a little city at the South of SA that experienced what they call two 'Ostrich Booms', two very wealthy periods of time related with the business with the ostrich feathers during the nineteenth century. The project is a result of fragments of conversations between Mo and Lola after their visit to the museum in which he gave her tips on how to navigate the intricacies of the comic book world mixted with extracted museum texts.
27.04.2015 - 15.05.2015