Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Rychèl Thérin in Vienna Art Week
WEST Space, Vienna, Austria
11 November —
12 November 2023
Rychèl Thérin is one of more than 50 artists who open their studios to the public, as part of Vienna Art Week 2023. This two-day event is a highlight of the programme, allowing visitors to take a look behind the scenes of artistic creation and engage in conversations with the artists.
Rychèl Thérin (b. 1984) is an artist of Māori and Jérriais descent, working with installation, assemblage and lens based media to explore themes of genealogy, inheritance and place making. Thérin grew up in Aotearoa New Zealand, and Jersey in the Channel Islands (GB). She graduated from the University of the Arts London: Camberwell College of Arts BA Painting programme in 2007; and after having her first child, she gained a Masters of Māori Visual Arts with Distinction from Massey University, New Zealand in 2012. Thérin exhibits across Europe, Great Britain and New Zealand.
Rychèl Thérin is one of more than 50 artists who open their studios to the public, as part of Vienna Art Week 2023. This two-day event is a highlight of the programme, allowing visitors to take a look behind the scenes of artistic creation and engage in conversations with the artists.
Rychèl Thérin (b. 1984) is an artist of Māori and Jérriais descent, working with installation, assemblage and lens based media to explore themes of genealogy, inheritance and place making. Thérin grew up in Aotearoa New Zealand, and Jersey in the Channel Islands (GB). She graduated from the University of the Arts London: Camberwell College of Arts BA Painting programme in 2007; and after having her first child, she gained a Masters of Māori Visual Arts with Distinction from Massey University, New Zealand in 2012. Thérin exhibits across Europe, Great Britain and New Zealand.
Mladen Bizumic, COPIA: Collection of Post-Industrial Arts
Georg Kargl Fine Arts, Vienna, Austria
09 November 2023 —
23 February 2024
Not many people know that Georg Kargl Fine Arts gallery was once a printers, the Druckerei Guberner & Hierhammer, whose presses occupied the gallery’s large central space. Today, this kind of printing is fading from sight, replaced by the digital files pulsing across our screens.
Mladen Bizumic’s solo exhibition COPIA: Collection of Post-Industrial Arts examines and contests this shift, weaving together historical and contemporary photographic techniques into hybrid images, mixtures of analog and digital technology that form part of his ongoing practice of media archeology uncovering our past in order to understand our present.
Not many people know that Georg Kargl Fine Arts gallery was once a printers, the Druckerei Guberner & Hierhammer, whose presses occupied the gallery’s large central space. Today, this kind of printing is fading from sight, replaced by the digital files pulsing across our screens.
Mladen Bizumic’s solo exhibition COPIA: Collection of Post-Industrial Arts examines and contests this shift, weaving together historical and contemporary photographic techniques into hybrid images, mixtures of analog and digital technology that form part of his ongoing practice of media archeology uncovering our past in order to understand our present.
Juliet Carpenter, Half Bianca
City Galerie Wien, Vienna, Austria
25 October —
10 December 2023
An exhibition featuring Juliet Carpenter and James Sturkey centering around notions of fakeness, and which includes fake babies and floor paintings on walls.
An exhibition featuring Juliet Carpenter and James Sturkey centering around notions of fakeness, and which includes fake babies and floor paintings on walls.
Judy Millar in 5th Kyiv Biennial: Against the Logic of War
Ukraine, Austria, Poland, Belgium and Germany
17 October —
17 December 2023
The fifth edition of the Kyiv Biennial takes place across Europe at locations in Kyiv, Ivano-Frankivsk, Uzhhorod, Berlin, Warsaw, Lublin, Antwerp, and in Vienna. In view of the Russian attack on Ukraine, a comprehensive biennial project in Kyiv long seemed deeply uncertain, if not impossible. But, with a cascade of openings—starting in Kyiv in October 2023, finishing in Berlin in 2024—the fifth Kyiv Biennial does takes place this year.
The project aims to reintegrate the Ukrainian artistic community, divided by war and scattered across Europe, and to enable its actors to work together with international colleagues and partners on the cultural, social and environmental challenges Ukraine is currently facing and to place them in a global context. In this year's historical exhibition, Aotearoa artist Judy Millar exhibits her 2017 painting Hollow Bones, courtesy of Thyssen-Bornemisza Art Contemporary.
The fifth edition of the Kyiv Biennial takes place across Europe at locations in Kyiv, Ivano-Frankivsk, Uzhhorod, Berlin, Warsaw, Lublin, Antwerp, and in Vienna. In view of the Russian attack on Ukraine, a comprehensive biennial project in Kyiv long seemed deeply uncertain, if not impossible. But, with a cascade of openings—starting in Kyiv in October 2023, finishing in Berlin in 2024—the fifth Kyiv Biennial does takes place this year.
The project aims to reintegrate the Ukrainian artistic community, divided by war and scattered across Europe, and to enable its actors to work together with international colleagues and partners on the cultural, social and environmental challenges Ukraine is currently facing and to place them in a global context. In this year's historical exhibition, Aotearoa artist Judy Millar exhibits her 2017 painting Hollow Bones, courtesy of Thyssen-Bornemisza Art Contemporary.
Sam Rountree Williams, Nature
Charim Schleifmühlgasse, Vienna, Austria
29 March —
22 April 2023
Organised by Berlin-based Aotearoa artist Sam Rountree Williams, this group exhibition brings together works in which a romantic view of nature is tempered by ambivalence. In the methods and formal strategies of the artists there is a sense that mere romanticism is insufficient to understand the distance, or lack thereof, between the artist and subject. Any romanticism that may remain is turned more towards painting itself.
Participating artists include: Manuela Gernedel, Louise Sartor, Anne Fellner, Benjamin Butler and Sam Rountree Williams.
Rountree Williams’ shell paintings are literally covered with cockle shells collected from the North Sea. Forms in the works likewise evoke the coast, yet the jarring synthetic colours and the quintessentially urban medium of spray paint keep any sentimentality in check, revealing a mischievousness that is reflected in the devilish figures that appear in some of these works.
Organised by Berlin-based Aotearoa artist Sam Rountree Williams, this group exhibition brings together works in which a romantic view of nature is tempered by ambivalence. In the methods and formal strategies of the artists there is a sense that mere romanticism is insufficient to understand the distance, or lack thereof, between the artist and subject. Any romanticism that may remain is turned more towards painting itself.
Participating artists include: Manuela Gernedel, Louise Sartor, Anne Fellner, Benjamin Butler and Sam Rountree Williams.
Rountree Williams’ shell paintings are literally covered with cockle shells collected from the North Sea. Forms in the works likewise evoke the coast, yet the jarring synthetic colours and the quintessentially urban medium of spray paint keep any sentimentality in check, revealing a mischievousness that is reflected in the devilish figures that appear in some of these works.
Kate Newby, Handover
GUIMARÃES and Laurenz, Vienna, Austria
31 December 2022 —
31 January 2023
Six years after Guimarães opened the first exhibition at Linke Wienzeile 36 in Vienna, it is time to move on and hand over the space to Laurenz. No better time than the start of the new year could have been found to celebrate this new beginning together. And what greater way to mark a momentous occasion than holding a glass of sparkling liquid in your hand? The joint exhibition Handover invites artists to create a work which visitors will encounter while celebrating. A message in the form of a text, a drawing or a secret code is engraved in champagne glasses. They gravitate around the bar and wander in space. From hand to hand.
With works by: Masaya Chiba, Ana Jotta, Sebastian Koeck, Lazar Lyutakov, Ute Müller, Kate Newby, Marie Reichel, Hans Schabus, Titania Seidl, Lukas Thaler and Heimo Zobernig.
Six years after Guimarães opened the first exhibition at Linke Wienzeile 36 in Vienna, it is time to move on and hand over the space to Laurenz. No better time than the start of the new year could have been found to celebrate this new beginning together. And what greater way to mark a momentous occasion than holding a glass of sparkling liquid in your hand? The joint exhibition Handover invites artists to create a work which visitors will encounter while celebrating. A message in the form of a text, a drawing or a secret code is engraved in champagne glasses. They gravitate around the bar and wander in space. From hand to hand.
With works by: Masaya Chiba, Ana Jotta, Sebastian Koeck, Lazar Lyutakov, Ute Müller, Kate Newby, Marie Reichel, Hans Schabus, Titania Seidl, Lukas Thaler and Heimo Zobernig.
Mladen Bizumic, Little Precious Things
Georg Kargl BOX, Vienna, Austria
02 December 2022 —
04 March 2023
Held in George Kargl BOX, a storefront project in a historic residential building, designed by Jabornegg & Pálffy architects in close collaboration with the American artist Richard Artschwager (1923–2013), Little Precious Things combines fragments of everyday life, documents of lived experiences and materialisations of the immaterial. It juxtaposes prompts and critical responses to the now together with the investigations of the medium. In the world of objects, not all occupy the same place. Or, to paraphrase Artschwager: on some (things), we can sit, but some might carry the potential to change the way we think and are. Exhibiting artists include: Mladen Bizumic, Rafał Bujnowski, Katrina Daschner, Mark Dion, David Fesl, Jakob Lena Knebl, Denisa Lehocká, Mercedes Mangrané, Josse Pyl, Paula Rego, Rosa Rendl.
Held in George Kargl BOX, a storefront project in a historic residential building, designed by Jabornegg & Pálffy architects in close collaboration with the American artist Richard Artschwager (1923–2013), Little Precious Things combines fragments of everyday life, documents of lived experiences and materialisations of the immaterial. It juxtaposes prompts and critical responses to the now together with the investigations of the medium. In the world of objects, not all occupy the same place. Or, to paraphrase Artschwager: on some (things), we can sit, but some might carry the potential to change the way we think and are. Exhibiting artists include: Mladen Bizumic, Rafał Bujnowski, Katrina Daschner, Mark Dion, David Fesl, Jakob Lena Knebl, Denisa Lehocká, Mercedes Mangrané, Josse Pyl, Paula Rego, Rosa Rendl.
George Nuku, Oceans. Collections. Reflections.
Weltmuseum Wien, Vienna, Austria
23 June 2022 —
31 January 2023
The Weltmuseum Wien presents the first comprehensive exhibition of Aotearoa artist George Nuku in 2022. His artwork is presented in three locations: the special exhibition galleries and the Hall of Columns of Weltmuseum Wien as well as at the Theseus Temple in Volksgarten which showcases his project Bottled Ocean 2122 to the public free of charge.
Nuku brings together collections from Vienna’s Natural History Museum and the Weltmuseum Wien. These are linked and melded with Nuku’s own creations, hand carved from plexiglass and polystyrene. The result is a journey through time and space. Each room presents its own theme, a world unto itself, yet each is intimately linked to the preceding and subsequent spaces. Nuku’s ideas and works express the inseparability of both nature and culture.
The Weltmuseum Wien presents the first comprehensive exhibition of Aotearoa artist George Nuku in 2022. His artwork is presented in three locations: the special exhibition galleries and the Hall of Columns of Weltmuseum Wien as well as at the Theseus Temple in Volksgarten which showcases his project Bottled Ocean 2122 to the public free of charge.
Nuku brings together collections from Vienna’s Natural History Museum and the Weltmuseum Wien. These are linked and melded with Nuku’s own creations, hand carved from plexiglass and polystyrene. The result is a journey through time and space. Each room presents its own theme, a world unto itself, yet each is intimately linked to the preceding and subsequent spaces. Nuku’s ideas and works express the inseparability of both nature and culture.
Zac Langdon Pole, Eureka!
VIN VIN Gallery, Vienna, Austria
04 September —
02 October 2021
The French philosopher Henri Bergson, in a collection of essays published at the beginning of the last century, identifies the essential requirements of comedy: it is inextricably linked to the human being; it needs a momentary distancing from the source of hilarity; and it is a phenomenon that cannot ignore sociality.
Curated by Francesco Tenagila, Eureka! takes its cue from these reflections, and looks at comedy tactics—false clues, double entendre, hyperbole, circularity, puns, refrains—building a path that articulates different artistic practices in a narrative whose ultimate goal is not laughter. Questions of place, travel, and translation have long been central to the work of New Zealand-artist, Zac Langdon-Pole. His work frequently collapses the spaces between colonial, scientific, and geographic distances. In 2019, Langdon-Pole’s BMW Art Journey saw him travel through Europe and across Te Moana-nui-a-Kiwa, following the pathways of migratory birds and celestial navigators.
The French philosopher Henri Bergson, in a collection of essays published at the beginning of the last century, identifies the essential requirements of comedy: it is inextricably linked to the human being; it needs a momentary distancing from the source of hilarity; and it is a phenomenon that cannot ignore sociality.
Curated by Francesco Tenagila, Eureka! takes its cue from these reflections, and looks at comedy tactics—false clues, double entendre, hyperbole, circularity, puns, refrains—building a path that articulates different artistic practices in a narrative whose ultimate goal is not laughter. Questions of place, travel, and translation have long been central to the work of New Zealand-artist, Zac Langdon-Pole. His work frequently collapses the spaces between colonial, scientific, and geographic distances. In 2019, Langdon-Pole’s BMW Art Journey saw him travel through Europe and across Te Moana-nui-a-Kiwa, following the pathways of migratory birds and celestial navigators.
Simone Aughterlony performs at Impulstanz
Kasino am Schwarzenbergplatz, Vienna, Austria
6.30PM — 8.30PM
08 August 2019
In Compass, water splashes, wine is drunk and spilled and there is never any land in sight. Two strong women drift on the high seas in the remains of what may once have been a ship. They are on an odyssey. Like castaways in their own inner lives, they travel as a pair, but ultimately, each of them remains lonely and by herself. Simone Aughterlony, originally from New Zealand, and Croatian dancer Petra Hrašćanec, are drifting on the waves of tough times. Tangled ropes, canvas, a bull’s skull, bones and ram horns accompany them on their expedition inspired by Homer’s Odyssey and the novel trilogy The Notebook, The Proof and The Third Lie by Ágota Kristóf. To live music by Hahn Rowe, they dance and sway, undergo transformations and, in passing, create a metaphor for Europe in its current, troubled state. Maybe the two of them are not sailors after all, but perhaps their desire is an inquiring way of being. The violet light of frenetic dancing splits the magnetic field. Take off the wet clothes, sweeten the sugar with freshly sucked blood. Give, take, reject and leave...
This is the Austrian Premiere of Compass. Performances are on the 8th and 10th of August.
In Compass, water splashes, wine is drunk and spilled and there is never any land in sight. Two strong women drift on the high seas in the remains of what may once have been a ship. They are on an odyssey. Like castaways in their own inner lives, they travel as a pair, but ultimately, each of them remains lonely and by herself. Simone Aughterlony, originally from New Zealand, and Croatian dancer Petra Hrašćanec, are drifting on the waves of tough times. Tangled ropes, canvas, a bull’s skull, bones and ram horns accompany them on their expedition inspired by Homer’s Odyssey and the novel trilogy The Notebook, The Proof and The Third Lie by Ágota Kristóf. To live music by Hahn Rowe, they dance and sway, undergo transformations and, in passing, create a metaphor for Europe in its current, troubled state. Maybe the two of them are not sailors after all, but perhaps their desire is an inquiring way of being. The violet light of frenetic dancing splits the magnetic field. Take off the wet clothes, sweeten the sugar with freshly sucked blood. Give, take, reject and leave...
This is the Austrian Premiere of Compass. Performances are on the 8th and 10th of August.
Fiona Connor: #8, Closed for Installation, A Sequence of Events
Secession, Vienna, Austria
27 June —
01 September 2019
For her exhibition at the Secession, #8, Closed for Installation, Sequence of Events, Connor has developed a body of work that comprises 23 bronze objects that resemble tools commonly used in the installation process of an exhibition: a measuring tape, ruler, pencil, dolly, etc. The sculptures work with the rules of a certain period of labour and maintenance, replicating tools that look very similar all around the world and are usually out of sight at the opening of the exhibition.
In the framework of Connor’s exhibition, the artist was also realizing two projects outside of the Secession: One at Karl-Marx-Hof, a municipal housing complex, where she made a copy of a community bulletin board and relocated it for the duration of the show to a private apartment. The other one is to permanently exchange a standard door from another social housing project in Vienna with a door from a house in Los Angeles.
For her exhibition at the Secession, #8, Closed for Installation, Sequence of Events, Connor has developed a body of work that comprises 23 bronze objects that resemble tools commonly used in the installation process of an exhibition: a measuring tape, ruler, pencil, dolly, etc. The sculptures work with the rules of a certain period of labour and maintenance, replicating tools that look very similar all around the world and are usually out of sight at the opening of the exhibition.
In the framework of Connor’s exhibition, the artist was also realizing two projects outside of the Secession: One at Karl-Marx-Hof, a municipal housing complex, where she made a copy of a community bulletin board and relocated it for the duration of the show to a private apartment. The other one is to permanently exchange a standard door from another social housing project in Vienna with a door from a house in Los Angeles.
Mladen Bizumic and Simon Denny in Dialogue, co-curated by Simon Rees
Georg Karl Gallery, Vienna, Austria.
23 November 2018 —
26 January 2019
This exhibition is the concluding project presented at Georg Kargl Fine Arts by “The Society of Projective Aesthetics,” which, since 2017, has developed a number of platforms examining concepts of deceleration, reduction, concentration, and dialogue.
Co-organized by Inés Lombardi and New Zealand curator Simon Rees, the Dialogue exhibition sets out to express meanings of ‘dialogue’ embedded within, and relative to, art in our time; and art’s production, exposition, reception, circulation, and dissemination. Dialogue presents the work of Mladen Bizumic, Richard Buckminster Fuller, Carter, Simon Denny, Gintaras Didziapetris, Mark Dion, Charles & Ray Eames, Andreas Fogarasi, Jeff Gibson, Mauricio Ianes, Ketty La Rocca, Thomas Locher, Ad Reinhardt, Andy Warhol, John Waters.
This exhibition is the concluding project presented at Georg Kargl Fine Arts by “The Society of Projective Aesthetics,” which, since 2017, has developed a number of platforms examining concepts of deceleration, reduction, concentration, and dialogue.
Co-organized by Inés Lombardi and New Zealand curator Simon Rees, the Dialogue exhibition sets out to express meanings of ‘dialogue’ embedded within, and relative to, art in our time; and art’s production, exposition, reception, circulation, and dissemination. Dialogue presents the work of Mladen Bizumic, Richard Buckminster Fuller, Carter, Simon Denny, Gintaras Didziapetris, Mark Dion, Charles & Ray Eames, Andreas Fogarasi, Jeff Gibson, Mauricio Ianes, Ketty La Rocca, Thomas Locher, Ad Reinhardt, Andy Warhol, John Waters.
Oscar Enberg at Pina Vienna
Pina Vienna, Austria.
11 November —
05 December 2018
In his 2016 documentary “Hypernormalisation”, the British filmmaker Adam Curtis turns to Jane Fonda and the start of a “new revolution” she initiated in the mid 80’s: workout videos as a retreat to the body in the face of growing and inconsumable global complexities. The concept of reality had become something that was manipulated and handled, in an effort to manage perception. The body and self, however, could still be controlled.
The works by Oscar Enberg, Barbara Kapusta and Sydney Shen are gathered in the exhibition Jane Fonda under the motif of what Mark Fisher proposes as the weird and the eerie: modi of fiction and experience located in fiction, film, and, suggested here, in art works. The weird and the eerie bring a charged strangeness to a place, unsettling the propriety and property lines that delimit a zone of activity or knowledge with “that which does not belong”. This outside cannot be made familiar (different to Freud’s notion of the uncanny), but to the contrary, makes it, as Fisher claims, possible to see the inside from the outside and to denaturalize relationships between bodies and their environments.
In his 2016 documentary “Hypernormalisation”, the British filmmaker Adam Curtis turns to Jane Fonda and the start of a “new revolution” she initiated in the mid 80’s: workout videos as a retreat to the body in the face of growing and inconsumable global complexities. The concept of reality had become something that was manipulated and handled, in an effort to manage perception. The body and self, however, could still be controlled.
The works by Oscar Enberg, Barbara Kapusta and Sydney Shen are gathered in the exhibition Jane Fonda under the motif of what Mark Fisher proposes as the weird and the eerie: modi of fiction and experience located in fiction, film, and, suggested here, in art works. The weird and the eerie bring a charged strangeness to a place, unsettling the propriety and property lines that delimit a zone of activity or knowledge with “that which does not belong”. This outside cannot be made familiar (different to Freud’s notion of the uncanny), but to the contrary, makes it, as Fisher claims, possible to see the inside from the outside and to denaturalize relationships between bodies and their environments.
Bruce Barber in Lost in Europe: in the wake of Britain’s inner emigration
Mekân68, Vienna, Austria.
19 October —
09 November 2018
Britain has entered on the civil strife path of secession from the European Union. The consequences of nationalist-inspired secession have always been historically troubling and of uncertain forecast — a self-fulfilling prophecy of understatement, to say the least. The exhibition project is not primarily interested in the pro-or anti- ‘Brexit’ issues but rather in the peculiar fait accompli, as it is, that Britain has undertaken a species of inner emigration.
Separatism is incited by fears of impingement, which are inescapable in our global circumstances of social, cultural and economic inequalities. The greatest impinger of all by dint of cultural stealth or outright inflicted power is America — the far-reaching American Dream — even apparently diminished as it might now appear. ‘Nearly America’ is our own encroaching shoreline. I heard it measured in my native separatist Quebec in the 1960s. The exhibition is curated by Richard Appignanesi and Gülsen Bal.
Britain has entered on the civil strife path of secession from the European Union. The consequences of nationalist-inspired secession have always been historically troubling and of uncertain forecast — a self-fulfilling prophecy of understatement, to say the least. The exhibition project is not primarily interested in the pro-or anti- ‘Brexit’ issues but rather in the peculiar fait accompli, as it is, that Britain has undertaken a species of inner emigration.
Separatism is incited by fears of impingement, which are inescapable in our global circumstances of social, cultural and economic inequalities. The greatest impinger of all by dint of cultural stealth or outright inflicted power is America — the far-reaching American Dream — even apparently diminished as it might now appear. ‘Nearly America’ is our own encroaching shoreline. I heard it measured in my native separatist Quebec in the 1960s. The exhibition is curated by Richard Appignanesi and Gülsen Bal.
Nik Geene at Galerie Hagland
Galerie Hagland, Vienna, Austria.
14 September —
13 October 2018
The exhibition is conceptually built upon ‘travel notes” compiled and edited on the occasion by artist Tony Cokes. Adopting the point of view of the flaneur, Cokes creates a speculative image of Vienna by appropriating and meshing non-art, historical figures, touristic clichés and club nights, all entwined in technological commentary. This distant gaze – Cokes hasn’t visited Vienna in the last 20 years – facilitates an aerial view of the complexities and unique traits that characterizes it.
Rather than offering a historical or direct feedback over a city, the exhibition proposes to approach Vienna – and any urban site- as a discursive platform for future possibilities and identities. It comprises artistic positions that favour and reflect over complex social, political and economic dynamics present in the everyday whilst flirting with the imaginative context they are called to inhabit.
The exhibition is conceptually built upon ‘travel notes” compiled and edited on the occasion by artist Tony Cokes. Adopting the point of view of the flaneur, Cokes creates a speculative image of Vienna by appropriating and meshing non-art, historical figures, touristic clichés and club nights, all entwined in technological commentary. This distant gaze – Cokes hasn’t visited Vienna in the last 20 years – facilitates an aerial view of the complexities and unique traits that characterizes it.
Rather than offering a historical or direct feedback over a city, the exhibition proposes to approach Vienna – and any urban site- as a discursive platform for future possibilities and identities. It comprises artistic positions that favour and reflect over complex social, political and economic dynamics present in the everyday whilst flirting with the imaginative context they are called to inhabit.
Kate Newby: I can’t nail the days down
Kunsthalle Wien Karlsplatz, Vienna, Austria.
16 May —
02 September 2018
With this exhibition, Newby continues her ongoing engagement with ephemeral and often peripheral situations. She creates a large-scale work installed on the floor in the Karlsplatz building, using bricks as artistic material. For this work, the artist modified unfired bricks and inserted found elements: shattered glass fragments left behind as a result of people spending time outdoors in the Karlsplatz area, and bits of clay collected when the subway was constructed. The sculpture unfolds as a material texture that invites visitors to step onto the work, to move across the surface and encounter its details.
Kate Newby's practice can be understood as being immediate and sensitive to her environment and the people around her. The informality that clings to her work often blurs the line between the work and its surroundings. For Newby, life and art are closely connected and in this sense the newly developed works on Karlsplatz will also be materializations of how the artist perceives the world around her.
With this exhibition, Newby continues her ongoing engagement with ephemeral and often peripheral situations. She creates a large-scale work installed on the floor in the Karlsplatz building, using bricks as artistic material. For this work, the artist modified unfired bricks and inserted found elements: shattered glass fragments left behind as a result of people spending time outdoors in the Karlsplatz area, and bits of clay collected when the subway was constructed. The sculpture unfolds as a material texture that invites visitors to step onto the work, to move across the surface and encounter its details.
Kate Newby's practice can be understood as being immediate and sensitive to her environment and the people around her. The informality that clings to her work often blurs the line between the work and its surroundings. For Newby, life and art are closely connected and in this sense the newly developed works on Karlsplatz will also be materializations of how the artist perceives the world around her.