Return of the Repressed was an independent exhibition curated by Toby Ziegler and presented across three floors of a vacant office block on Heddon Street, London.

The touchstone for the exhibition was a life-size plaster figure made by Antonio Canova in 1807 and strategically studded with hundreds of small bronze pins. Resembling a proto-digital 3D scan, the figure describes a form by reducing it to points in space, which Canova then transcribed to marble using a pointing machine. It is simultaneously the thing and the code that describes the thing.

The exhibition took this as a starting point for a wider exploration of corporeality, alienation and abstraction in relation to late capitalism, digital technology, AI and social media. For the exhibition, a 1:1 copy of the Canova figure was 3D-printed and its bronze pins manually inserted.

Works by artists and non-artists were brought into a series of constructed triangular rooms, creating conversations between art objects, videos and objects from outside the art world. Many of the works shared a Frankenstein-like logic of deconstructing and reassembling familiar forms in an attempt to produce new possibilities for comprehension, while others operated as counterpoints or puncta.

The provisional architecture functioned like a film set. Emerging from it, the viewer entered a larger, more dilapidated space where the triangular room could itself be apprehended as an object, with a drone hovering around it.

Including work by:
Gillian Carnegie, Ella Fleck, Katrin Hanusch, Hannah Levy, Tatsuo Miyajima, François Morellet, Frida Orupabo, Ahren Warner

And work not by:
Richard Artschwager, Samuel Beckett, Antonio Canova, Nicolas Poussin, Yan Zhenquing

The work shown by Katrin Hanusch:
Wiped (Free Palestine)

Who Runs the World? was a multidisciplinary group exhibition at The Bomb Factory Art Foundation’s Marylebone Gallery, exploring authorship, creativity and human labour at a time increasingly shaped by automation, machine learning and digital production.

Held in May 2025, the exhibition considered what happens to the value of human-made work as machines become increasingly capable of producing images, texts, music and other forms of creative output. Rather than offering a definitive answer, it brought together artists whose practices negotiated different relationships between physical making, technology and systems of production.

Across sculpture, painting, film and digital media, the works examined questions of authorship, touch, automation, labour and obsolescence. Together, they considered whether technological acceleration might diminish the significance of the handmade—or instead make material, embodied forms of making newly visible.

The exhibition reflected The Bomb Factory Art Foundation’s commitment to independent, artist-led programming and its interest in bringing emerging and established practices into dialogue around contemporary questions of technology, labour and culture.

Artists

Conor Ackhurst
Damaris Athene
Be Andr
László von Dohnányi
Katrin Hanusch
Kieran Leach
Isobelle Munckton
Josèfa Ntjam
Laurence Owen
Damien Roach
Rafał Zajko
00 Zhang

UBIK 2025 was a two-part project by Changeable Beast inspired by Philip K. Dick’s novel UBIK. Across two three-week exhibitions, the project explored UBIK as a slippery substance and metaphor for time, reality and social change.

Drawing on the novel’s shifting realities and Dick’s ideas around reframing perception, the exhibition brought together sculpture, performance, time-based media, drawing and print. Changeable Beast and invited artists developed speculative narratives and situations that questioned how reality is constructed and how it might be changed.

The project considered art as a space for imagining alternatives: not simply representing possible futures, but creating situations in which different ways of thinking, relating and organising might be rehearsed.

Across its two parts, UBIK 2025 invited audiences into a series of encounters between artworks, performances and ideas, opening up conversations around transformation, collective possibility and potential social change.


Artists

Andy Gomez, Eveleigh-Evans, Jennifer Moore, Karen Byrn, Katrin Hanusch, Rachael Causer, Seona Myerscough, Tania Salh, Tom Witherick, and Vivien Delta.

The first exhibition curated by DJ Simpson centred on his interest in painting. Although not all of the participating artists identified as painters, each used paint in some capacity or referenced aspects of painting within their work.
The exhibition brought together works that emphasised surface quality through close observation, careful construction and deliberate application of detail. Across different approaches and materials, the artworks stood as objects to be read on their own terms, bringing together figurative and figural signs with the material processes through which they were made.
Rather than presenting painting as a fixed category, the exhibition considered how its language, techniques and concerns could extend into other forms and practices.
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Adam Holmes-Davies (*1973, Croydon, UK) earned a BA (hons) from Surrey Institute of Art and Design in 1996. After spending several years traveling across Eastern Europe and North America, he enrolled at Chelsea College of Art and Design, London, UK achieving an MA in Fine Art in 2006. Recent exhibitions include ‘Dear Luke, Dear Adam’ (with artist Luke Dowd) at Kingsgate Project Space, London, UK, 2023. Recent group exhibitions include ‘Cat Flap Blink’, Terrace Gallery, London, UK, 2024; ‘YOUR FOOT IN MY FACE and other tectonic strategies’, Kingsgate Project Space, London, UK, 2021; ‘The Good, the Bad and the Ugly’, Charlie Smith Gallery, London, UK and ‘Works on Paper’ Vue par Defaut, Galerie d’Art Contemprain, Sauve, FR, 2016.

Caroline McCarthy (*1971, Dublin, Ireland) has lived and worked in London since completing an MA in Fine Art at Goldsmiths in 1998. She has had solo shows in Ireland, UK, US and Europe, and many group shows internationally including Europe Exists, MMCA, Greece, 2003; Views From An Island, Shanghai Art Museum, Shanghai, 2004; To Be Continued, British Council, Helsinki Kunsthalle, 2005; Group Coordination, co-curated by McCarthy for the Irish Museum of Modern Art in 2014; Dismaland, curated by Banksy, Somerset, 2015; Nature Morte (MOCA touring) in association with Thames and Hudson, 2015 - 2023. Her work is included in collections of IMMA, Arts Council of Ireland, National Gallery of Ireland, European Central Bank; Allied Irish Bank; Office of Public Works and private collections. Currently she is associate lecturer at Chelsea College of Art and serves on the board of trustees for Acme studios

Katrin Hanusch (*1978, Germany) is a multidisciplinary artist based in London, UK. Recent solo shows include After the Curtain (Illusionarium 2021, London), Future’s Landing (Picnic Gallery, London), The Romance (All About Laptops, London). Her work has been included in group shows internationally, including at Contemporary Sculpture Fulmer, Brooke Benington Gallery (Fulmer), Danielle Arnaud, Tintype, APT Gallery, SPACE and Assembly Point (all London), Ram Chhatpar Shilp Nyas (Varanasi) and Kunststiftung Sachsen-Anhalt (Halle/Saale). Hanusch studied Sculpture at the Royal College of Art, London, and Drawing and Printmaking at Burg Giebichenstein University of Art and Design, Halle, Germany.

Roxy Walsh (*1964, County Tyrone, Northern Ireland) is an artist moving from a painting practice towards writing, and maybe back again. The work, whether in watercolour or text, uses figures, figures of speech, gestures, abstraction. The most recent work in painting is architectural and abstract, using simple observations, like the lightfall in rooms, as a starting point. Roxy has had solo shows in Mobile Home Gallery (London), Annika Sundvik (New York), Temple Bar Gallery (Dublin), Globe Gallery (Newcastle) and The MAC (Belfast). With Sally Underwood she was shortlisted for the MAC International in 2014, and they had a solo show, Dependent Rational Animals, at Towner, Eastbourne in 2013. She is a 0.75 Senior Lecturer in Art at Goldsmiths.


Artists

Katrin Hanusch
Adam Holmes-Davies
Caroline McCarthy
Roxy Walsh

Katrin Hanusch

Exhibition 19th June — 3rd July 2022

This show brings together a range of works comprising bronze, brass and aluminium casts, discarded material, colourful metal and wax works as well as gold-plated objects. 


Window 135
135 New Cross Road
SE14 5DJ London