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

Mudlark

Curated by Bailey & Katrin Hanusch
Exhibition 16th June — 3rd July 2022


Featuring works by artist Adam Leach, Leo Carlton, Bailey, Hongxi Li, and Katrin Hanusch


Mudlark brings together a variety of works – ranging from jewellery to installation – that investigate the post-human body via the artist’s experience of manoeuvring within an increasingly complex world. Materials are inclusive to whatever might be to hand and lend itself to the artistic process.

In the artists’ practices a prioritised material awareness finds kinship with that of ‘mudlarks’ — street children who survived by scavenging and trading valuables they could find on the banks of the River Thames, during the 19th century. Getting to the river banks to forage was not without risk; it implied descending over slippery steps and slopes at low tide to comb through junk, bones and broken crockery.

The artists apply themselves likewise, descending into the mud and silt of collective experience to extract fresh aspects and potentialities; they employ metaphor that transcends or evades the literal; they use images that communicate the experience of estrangement; they develop tools and methods to adapt to the environment; they employ symbols that fend and protect, and derive an essence from the mud that might just be an elixir. 

At the banks of the Thames, low tide reveals while high tide reconfigures — a dynamic as revelatory as it may be disquieting.


Generation & Display
Queensrollahouse
18 Trading Estate Road
London NW10 7LU

Material Curing

Curated by Reinis Lismanis
Exhibition 13th — 28th November 2021

Featuring works by artist Katrin Hanusch, Celeste McEvoy, James William Murray, Ieva Raudsepa, and Tilo & Toni.


Archiving, assembling, balancing, binding, buffing, caressing, carrying, casting, cleaning, cruising, crying, desiring, despairing, disassembling, dragging, drawing, dreaming, dressing, drilling, drinking…*

Curing, a process in chemistry and engineering, produces a tougher, harder and more stable material. Single entities react and form a network where density increases and drives toward the end of the reaction, a solid state. Similarly, art practices that develop over time and through experimentation, production, interpretation, reiteration and rejection steer toward a solid state of meaning. However, achieving such a state in the gooey mess that is the field of art is a fallacy, and the practices of artists should rather be seen as stuck in the process of curing.

Whether it is engagement with contemporary consumerism, with ancient relics and motorway souvenirs, with notions of touch and indexical trace, with longing for the "real", or with remixing and sampling as a driving force in search for the "new", the practices of artists in this exhibition explore the boundaries of a variety of mediums, modes of production, presentation and meaning-making – always developing, continuously morphing, never fixed.

*Extract from James Williams Murray's Studio Actions


About the artists:

Katrin Hanusch (b. 1978, Kulmbach) is a London based multidisciplinary artist. Her work engages with the impermanence and interconnectedness of our world and addresses the long term effects of our actions through site-responsive works. 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 at the Royal College of Art, London and Burg Giebichenstein University of Art and Design, Halle.

Celeste McEvoy (b. 1994, London) is an artist exploring her personal relationship with social mobility and the desire for total assimilation. Often presenting roadside debris and found objects alongside her ceramics as means of ethnographic collection, her work investigates themes of aspiration, hierarchy and the need for cultural capital. Recent solo shows include (IF YOU DON’T PLAY), YOU CAN’T BE A WINNER (Kupfer Projects, London), Thirst Prize (with Corbin Shaw, Changing Room Gallery, London), SAVELOY SPEEDWAY (MocaThanet, Kent) and Oh Buoy (BLOAT Collective, APT Gallery, London). Recent group shows include Smok Gang (Penthouse Gallery, Margate), A Land of Incomparable Beauty (BLOAT Collective, Collective Ending, London) and Time Cannibal (Brockley Gardens, London). McEvoy studied painting at Camberwell College of Arts.

James William Murray (b. 1988, Brighton) explores concepts of mediated touch, indexical trace, materially, and desire through works spanning painting, drawing, sculpture, and photography. Recent solo exhibitions include Realia (Brighton CCA: Dorset Place), Object Q / Pursuit of Happiness (with Garth Gratrix, Dodo Gallery, Brighton) and Ain’t Nothing Like The Real Thing (Stephane Simoens, Knokke). Recent group exhibitions include Too Young to Fruit (Wevet Projects, Brighotn), New Ideal (Rule Gallery, Denver), Between the Lines (Stephane Simoens, Knokke). In 2017 he co-founded Niagara Falls Projects in Brighton. Murray holds an MA in Photography from the University of Brighton where he also teaches.

Ieva Raudsepa (b. 1992, Riga) is a Latvian artist working with film, text and photography exploring convergence of documentary material, critical theory and fiction. Solo shows include Closed for Crisis / Take Care of Each Other (Low Gallery, Riga) and It Could Just Swallow You Up (ISSP Gallery, Riga). Her work has been shown internationally including in Future Ghosts (Human Resources, Los Angeles), Post-Soviet Visions (Calvert 22 Foundation, London) and in Riga Photomonth. She is currently the artist-in-residence at ARCUS Project in Japan. Raudsepa studied philosophy at the University of Latvia and fine art at California Institute of the Arts and Mountain School of Arts, Los Angeles.

Tilo & Toni (founded 2015, Siegen) is an artist duo based in Cologne. In their practice, the artists straddle photography and painting aiming to create a synthesis between the two. Recent solo shows include Im Walde rauscht der Wasserfall (Metronom Gallery, Modena) and Tilo & Toni geraten in Schwierigkeiten (Gasthof Worringer Platz, Dusseldorf). Their works have been shown at Villa Stuck (Munich), Zabriskie Point (Geneva), düsseldorf photo+, Fondazione Francesco Fabbri (Treviso), Kunsthalle Zürich, Photo London, Unseen (Amsterdam) and Neuer Aachener Kunstverein (Aachen). Tilo & Toni have studied at University of Siegen and Gerritt Rietveld Academy. Their first artist book was published by Skinnerboox and presented at Printed Matter, MoMA PS1, New York. They are visiting lecturers at University of Giessen, University of Paderborn and University of Siegen in Germany.

Reinis Lismanis (b. 1992, Jūrmala) is a Latvian artist based in London. He has held solo exhibitions at Exhibition Hall Arsenals, Latvian National Museum of Art (Riga), Brockley Gardens (London), Brighton CCA: Dorset Place (Brighton) and no format (London). His works have been shown at KAI Art Center (Tallinn), Benaki Museum (Athens), National Library of Latvia (Riga), Fotopub Festival (Novo Mesto) and FUGA (Budapest). Lismanis holds a degree in photography from the University of Brighton and is currently studying art history at Birkbeck, University of London.



Thames-Side Studios
SE18 5NR London

Slippery Sum
Curated by Gabriel Birch

Exhibition 25th July — 4th August 2019


Featuring works by artist Gabriel Birch, Benjamin Cohen, Lloyd Durling, Katrin Hanusch, Susan Jacobs, and Charlie Yetton.


APT Gallery presents Slippery Sum, a group exhibition of painting, sculpture, installation and moving image that seeks to investigate the role of materiality as a mediator in everyday interactions.

The works in this exhibition focus on the malleability and potential for
breakdown in the most robust material or refined design. They hint at
a sense of latent life in the constructed, collected, or inanimate. The
diverse strategies of these six artistsdeal with slippery and uncertain
parameters, where the idea of control is often fleeting. Slippery Sum
re-assesses the relationships between space, material and objects,
both within the production process and the wider socio-political
landscape.



APT Gallery
6 Creekside
SE8 4SA London

BLANK LIONS
Exhibition 16th — 30th June 2018


Featuring works by artist Katrin Hanusch, Linda Hemmersbach, Jack Vickridge, and Isobel Wohl.


BLANK LIONS brings together four UK-based artists working in sculpture, drawing and painting. Interested in the ‘Un’ within ‘Un-knowing’, the works play with a reversal of known processes and the un-doing of learned knowledge, questioning clarity and the pre-meditated within the making process.

Sharing a material-driven approach, particular attention is paid to touch, surface, colour and arrangement. Materials from the artists’ everyday surroundings are selected for their specific physical and pictorial qualities– concrete, mud, biodegradable plastic packaging or discarded laptop screens. The magnification of these qualities draws attention to the act of looking and questions the way we touch and experience the world. Muted tones reminiscent of the palette of Piero della Francesca hint at times of transition within the natural world, just as the works on display move from one visual language to another.

BLANK LIONS refers to the term HIC SVNT LEONES (Here are lions), which was used by Roman and Medieval cartographers when denoting unknown territories on maps. Rather than striving towards eventually discovering and naming unknown locations, the artists seem to be interested in moving towards a state of blankness; erasing that which is unnecessary and allowing space for the presence of something that cannot be named. Subtle stitching on transparent plastic, silent screens void of information, calligraphic marks reminiscent of landscapes and scattered fragments of dusty–coloured cement, suggest that blankness and muteness can be forms of understanding rather than things to be identified.

When we imagine the works as ‘texts from a language that has not been given to us to read’ , meaning is found within the gaps of information, where absence is filled with resonance and new possibilities arise within the loss of solidity.  



Bankley Studios & Gallery
Bankley Street 
Manchester, M19 3PP