Born in 1974, Miami. Lives in Brooklyn.

Over the past ten years Lisi Raskin has been exploring the effects of the fears and paranoia of Cold War rhetoric in Reagan-era American politics and their relationship towards the architecture of war, nuclear power and land use. Raskin's works are complex and hybrid theatre-like installations that oscillate between large-scale freestanding settings and discrete sculptures. Sometimes the artist mediates her own work, at other times she uses an alter ego, for example, a drag performance in which she acts as a fictional character Herr Doktor Wolfgang Hauptman II. Raskin's projects recreate fragments of the historical narrative of the Cold War era and invest them with different political desires in order to rethink the oppressiveness of those narratives from a specific gender queer position. This is also manifested in the materials and methodology the artist uses; the destructive power of recreated objects is in contrast to their nonfunctional state, the lengthy process of hand crafting and with the use of recycled and improvised materials in their creation. Sunday Punch (2008) and Control Room (2008) are part of a larger project called Topside. Sunday Punch consists of paper airplanes hanging from a chandelier and refers to a pre-emptive strike against the USSR advocated by General Curtis LeMay, whilst Control Room is a recreation of a Cold War workstation. These works act as a point of departure for an exploratory dialogue with the specific spatial and social context of the exhibition venue.