Exhibition

Mirgage in The World in My Hand, BLACKBOX, Alexander Tutsek Stiftung, Munich, Germany, 2024

Sky Gazing, ARoS, Copenhagen, Denmark, 2024-2025

Sky Gazing explores the ways artists have considered and been inspired by the vast spaces and events of the universe and its impacts on art and nature here on Earth. Including works by celebrated contemporary artists Katie Paterson (b.1981), Douglas Gordon (b.1966), Angelica Mesiti (b.1976), Roni Horn (b.1955), Søren Thilo Funder (b.1979) and more, Sky Gazing also presents Danish and European masters, whose works broaden our understanding of man’s eternal fascination with sky gazing from the observational to the abstract. The sky is hidden, symbolic and sacred in works from Dutch still life, Danish Romanticism, and Italian journey paintings, reminding us that the sky holds significance in many cultures. Sky Gazing also includes important modernist works by Wassily Kandinsky (b.1866-1944), Alexander Calder (b.1898-1976), and Ib Geertsen (b.1919-2009) who each explore the sky through symbols and distillations, and it introduces Danish audiences to the beautiful spirit works of Australian indigenous artist Naminapu Maymuru-White (b.1952) whose larrakitj (memorial poles, ed.) tell the story of the Milky Way, The River and the ‘everytime’ place of souls who travel between the sky and earth. Visitors will also experience the immersive cosmos created by renowned Scottish artist, Katie Paterson (b.1981), who invents a galaxy from a dazzling disco ball of photographed eclipses. This is brought together with her prepared piano piece Earth-Moon-Earth (Moonlight Sonata Reflected from the Surface of the Moon) 2007 in which the moon ‘plays’ Beethoven’s composition via satellite bounce.

Turner: Sublime Legacy exhibition at the Grimaldi Forum, 2024

This exhibition, featuring an ensemble of first-rate works in a new scenography of over 2,000 square meters, is an invitation to a journey through Joseph Mallord William Turner’s representations of the world in a sublime mode, from his landscapes to the elementary explorations of light and atmosphere of which he was a pioneer and master. Turner’s decisive influence on painting, and by extension his legacy, will be highlighted in the exhibition through some interpretations of the sublime by leading contemporary artists such as, among others, Richard Long, Olafur Eliasson, Cornelia Parker, Jessica Warboys, John Akomfrah, Katie Paterson, and Mark Rothko.

(Post), The Nordic House, Reykjavik, Iceland, 2024-25

The multimedia art exhibition (Post) presents artwork between 2005 and 2021 from mainly Nordic artists who question and reflect our time and our future. An underlying theme is the anthropocene. Most of the works depict post-industrial structures that raise questions in how to think about a future. Artists: Nana-Francisca Schottländer (DK), Katie Paterson (UK), Marte Aas (NO), Rita Marhaug (NO), Anna Líndal (IS) og Rúrí (IS).

The Shape of Things: Still Life in Britain, Pallant House Gallery, Chichester, UK, 2024

The Shape of Things questions the idea that still life is a lesser genre, showing how important it is to artists and society. Featuring a ‘Who’s Who’ of Modern and Contemporary British artists, the exhibition digs into still life’s rich symbolism and how it’s pushed boundaries and new ideas. The exhibition shifts from 17th-century ‘vanitas’ paintings to post-impressionism to abstraction and from pop to conceptual art. It invites viewers to think about life’s challenges, such as love and grief, identity and the subconscious, life and death and plenty and waste. Today, these challenges also include biodiversity loss, the legacy of colonialism, and climate change. On display are a selection of works by modern and contemporary artists in Britain including Hurvin Anderson, Vanessa Bell, Edward Burra, Patrick Caulfield, Lucian Freud, Gluck, Duncan Grant, Richard Hamilton, Mona Hatoum, Jann Haworth, David Hockney, Lee Miller, Paul Nash, Ben Nicholson, William Nicholson, Katie Paterson, Eric Ravilious, Anwar Jalal Shemza, William Scott, Walter Sickert, Stanley Spencer, Edmund de Waal, Rachel Whiteread and Clare Woods. The exhibition looks at how these artists have used traditional art history to express the complexities of the human condition.

LEDA and the SWAN, a myth of creation and destruction, Victoria Miro, London, 2023-24

Curated by Minna Moore Ede and presented by Vortic Curated and Victoria Miro, an exhibition of primarily new work by sixteen artists across a variety of media – drawing, painting, sculpture, film and dance. Their responses to the myth of Leda and the Swan are diverse; each has found their own meaning in the story, revealing much about our contemporary preoccupations, be they personal or universal. Artists: Kim Brandstrup, Saskia Colwell, Miranda Forrester, Robin Friend, Tom Hunter, Annie Morris, Audrey Niffenegger, Ana Maria Pacheco, Katie Paterson, Conrad Shawcross and Marina Warner, Kiki Smith,Barbara Walker, Mark Wallinger, Alison Watt, Flora Yukhnovich.

Arcadia and Elsewhere, James Cohan Gallery, New York, 2024

Arcadia and Elsewhere anchors landscape painting in the myriad portrayals of Arcadian landscapes, which portray nature as an idealized foil to the torrents of human civilization, stretching back into antiquity. The exhibition highlights the enduring prevalence of the landscape in contemporary painting, building connections between both established and emerging artists furtively engaged in the depiction of our natural surroundings as enduring sites of significance, while expanding and complicating the loaded ways in which landscape manifests as a form unto itself.

Into the Woods. Perspectives on Forest Ecosystems, Klima Biennale Wien, Kunsthaus Wien, Austria, 2024

In association with Klima Biennale Wien, KUNST HAUS WIEN presents a comprehensive group exhibition on one of the world’s most vital ecosystems: the forest. Sixteen contemporary artistic positions reflect on the forest as a habitat, its ecological processes, as well as the threats it faces. More than ever, the world’s forests have become monuments to the imbalances found on our planet. Forests filter water and air, and supply resources and food. As habitats for the majority of terrestrial animals, forests are beneficial to human health, and, as vital carbon stores, help stabilize the planet’s climate. Logging and the profit-oriented exploitation of woodlands are accelerating the ecological crisis while climate change fuels deforestation. Artists: Rodrigo Arteaga, Anca Benera & Arnold Estefán, Eline Benjaminsen & Elias Kimaiyo, Alma Heikkilä, Monica Ursina Jäger, Markus Jeschaunig, Isa Klee, Susanne Kriemann, Jeewi Lee, Antje Majewski, Richard Mosse, Katie Paterson, Oliver Ressler, Abel Rodríguez, Diana Scherer, Rasa Šmite & Raitis Šmits

Carboniferous Love at Hessel Museum of Art, New York, 2024

Featuring the work of six different artists, including Katie Paterson, Carboniferous Love, named for the rich coal stores that were produced over three-hundred million years ago when Earth was uncovered with swamp forests, will present works that “recailbrate perceptions of time and space”, and explore the rich material history of Earth.

Mars: the Red Mirror, ArtScience Museum, Singapore, 2023-24

The Red Mirror will launch visitors on an out-of-this-world expedition through 12,000 years of culture, art, history, and science about Mars from ancient times to the present day. It is the most comprehensive historical and cultural exhibition on the Red Planet to land in Singapore, featuring over 300 objects, including significant historical artefacts, rare scientific manuscripts, films, contemporary works of art, and even an authentic Martian meteorite. Having been a subject of fascination over millennia, Mars has captured humankind’s imagination like no other planet. Space agencies from around the world are actively exploring Mars, with three active rover missions currently on the planet, and several manned space missions on the horizon. Mars: The Red Mirror reflects the enduring connection humanity has to the Red Planet by bringing together narratives from pioneering scientists, modern day experts, filmmakers, writers, and contemporary artists who have been exploring Mars through time and across diverse cultures.

TIME: From Dürer to Bonvicini, Kunsthaus Zurich, Switzerland, 2023-24

Katie’s work Timepieces (Solar System), 2014, is on show as part of a group exhibition Time, at Kunsthaus Zürich. The exhibition is a journey through the history of time which brings together paintings, videos, films, installations, performances and examples of the watchmaker’s art. The works attest to the ephemeral nature of life; they tell of the changing seasons, the possibilities to reflect and global financial markets that are now synchronized down to the last picosecond. A multilayered carpet that sheds light on historical, palaeontological and physical views of time is laid out over more than 1,200 metres of exhibition space, dividing the presentation into six chapters which consider ‘deep time’, political dimensions and biological aspects of time, and more. Participatory formats invite visitors to share their views on innovative models of the future. The opportunity is as appealing as it is urgent, given the unending debate within society about how we can still safeguard the survival of our planet and those who live on it – and how much time we have left to do so.

The Recent, Talbot Rice Gallery, Edinburgh, 2024

Katie Paterson, alongside Eglė Budvytytė, Helen Cammock, Dorothy Cross, Regina de Miguel, Mikala Dwyer, Nicholas Mangan, Angelica Mesiti, Otobong Nkanga, Micol Roubini and Simon Starling, will show in a new exhibition, The Recent, at Talbot Rice Gallery, Edinburgh. The Recent takes us into a conceptual world of geological, evolutionary, human and environmental time, exploring what art can do to stretch the human imagination, and situate our actions and impact in a deeper, future-oriented timeframe. The geological ruminations that underpin the exhibition are deeply rooted in Edinburgh – a city punctuated by a dormant volanco – and the place that eighteenth century geologists James Hutton, and late Charles Lyell, developed the theory of deep time that is reflected in many of the artists’ works. To Burn, Forest, Fire by Paterson, uses scent to explore the first-ever forest on Earth, and the last forest in the age of the climate crisis. The artwork employs the senses to cultivate an intimate, intuitive experience that aims to transport participants through time as a reminder of the increasing levels of extinction caused by humanity. Also on show is Evergreen, an artwork which depicts every extinct flowering plant, brought together in an embroidery, reflective of the Arts and Crafts movement, whose core characteristics were the importance of nature as inspiration, and the value of simplicity, utility and beauty. Evergreen represents a reverence for nature, and mourning for all that is, or soon to be, lost.

Prima Materia: The Periodic Table in Contemporary Art, Aldrich Contemporary Art Museum, USA, 2023

All art forms, even music and literature, are partially dependent on the material world. The visual arts, however, are more linked with materialism, as the field is primarily defined by objects, which are made of physical matter. Even digital media is contingent on matter, whether it is the silicon that makes a microprocessor, or the lithium that comprises the battery in a cell phone. For thousands of years humans have speculated on what the world is made of. “Prima materia” was a concept first put forth by Aristotle to describe the primitive, formless base for all matter. Later, Plato in his treatise Timaeus, wrote “The body of the world is composed of four elementary constituents, earth, air, fire, and water, the whole available amount of which is used up in its composition.” The alchemists of both medieval Europe and those of the Islamic Middle East and North Africa were the first who began to doubt the primacy of the ancient four elements and their speculation led to the transition from alchemy to chemistry that began in the Renaissance. The names given to the eras in human history–stone, bronze, iron, and now silicon, are indicative of how our understanding of matter has transformed culture.

Air, Queensland Art Gallery, Gallery of Modern Art, 2023

Journey through the invisible, ethereal and vital element of air. Presented across the entire ground floor of GOMA, the exhibition is a journey through this invisible, ethereal and vital element, reflecting on awareness of our shared atmosphere as life-giving, potentially dangerous and rapidly warming. Artists: Jananne Al-Ani / Carlos Amorales / Oliver Beer / Dora Budor / Tacita Dean / Max Dupain / Peter Fischli and David Weiss / d Harding with Hayley Matthew / Mona Hatoum / Nancy Holt / Jonathan Jones with Uncle Stan Grant Snr / Ali Kazim / Anthony McCall / Lee Mingwei / Rachel Mounsey / Ron Mueck / Rei Naito / Albert Namatjira / Jamie North / Charles Page / Katie Paterson / Rosslynd Piggott / Patrick Pound / Lloyd Rees / Tomás Saraceno / Yhonnie Scarce / Wolfgang Sievers / Thu Van Tran / Jemima Wyman

The Moment, Durham Cathedral

The Moment is an installation by Katie Paterson that forms a part of the National Glass Centre’s major project the Glass Exchange. The work consists of a series of hourglasses that flow for fifteen minutes, allowing the audience to reflect on the vastness of time and one’s role within it. The Moment was displayed at Durham Cathedral, Sunderland Minster and the National Glass Centre.

Evergreen, Katie Paterson, Galleri F15, Moss, Norway, 28 May – 5 October 2022

Katie Paterson’s first solo show in Norway at Galleri F15 comprised several new artworks including —there lay the Days between— and Evergreen.

Time’s Relentless Melt, Princeton University Art Museum, 2022

Katie Paterson exhibited work at Princeton University Art Museum’s group exhibition entitled Time’s Relentless Melt. This exhibition presents photographic time-based works that center around the complex nature of time, and the tension between transience and permanence, recording and remembering. Paterson’s work will exhibit alongside artists including Andy Goldsworthy and Dawoud Bey.

Vertigo, Julian Charrière and Katie Paterson
Galleri Tschudi, Zuoz, Switzerland, 18 December 2021–26 March 2022

“To have the work of Katie Paterson and Julian Charrière in the same space is a festival for the senses and imagination. Their work expands our minds and brings our thoughts into the most extreme dimensions. They work on the scale of geology, eternity, using elements from ancient fossils to radioactive measurements to astronomical observations.” Andri Snær Magnason

www.galerie-tschudi.ch

Ideas, Katie Paterson, Edinburgh University Kings Building Campus

What time is it on Venus? What will be read by unborn people? Is it possible to plant a forest using saplings from the oldest tree on earth? Can we make ink to be read only under moonlight? Katie Paterson’s Ideas pose questions about deep time, and the limit of what is real and what is imagined. In the largest site responsive presentation of the work to date, one hundred existing and newly created Ideas have been brought together and installed across selected locations at the University of Edinburgh’s King’s Buildings campus. The Ideas are located across an array of buildings (both outside and in), as well as in gardens, grounds and hidden and unexpected places, at varying levels, high and low. Each short text concerns the landscape, the universe, or an expanded sense of earthly and geological time. Ideas is a permanent commissioned by the University of Edinburgh’s College of Science and Engineering, and is open to visit daily.

Katie Paterson at Kunsthaus Zurich

Earth Beats, October 4, 2021 – February 6, 2022, Zurich, Switzerland

All That Was Solid Melts, Auckland Art Gallery Toi o Tāmaki, 2021

Isolation is something we have recently experienced. Like many generations before us we have felt the anxieties of being in the midst of a plague. We have sought ways to counter fear, apprehension, loneliness, separations and have been plunged into private diversions and distractions to wait out time. We have come to realise that all that was solid, everything we counted on, and took for granted – work, leisure, travel, society, even family – might melt away or fracture; that things are mutable, apt to change and that we must adapt if we are to thrive in these new circumstances. All That Was Solid Melts takes us on a journey from isolation through the multiple anxieties of life and catastrophe, something New Zealanders are particularly familiar with, and along the way offers moments of historical sympathy, solace, and discovery. When, finally, we step beyond the itinerary we will have travelled through metaphors and emotions, realising that we too are simply passing through time, which is but a small moment in a longer plan; that we are but a spec in the cosmos; that things come before and will come after our moment; that we will be deconstructed to reconstruct ourselves. Explore major works by some of the world’s leading contemporary names such as Pipilotti Rist, Tacita Dean, Pierre Huyghe, Douglas Gordon, Katie Paterson and many more.

Katie Paterson at Hayward Gallery, Winter Light

Katie Paterson’s artworks often reveal the beauty and poetry in the natural phenomena of our planet and beyond. For Totality she has created a large mirrorball using over 10,000 images of solar eclipses, each image printed as a single mirrored fragment. The images depict the many states of eclipse – from partial to total – while their corresponding reflections dance across the walls of the surrounding space.

James Cohan: Twenty Years

James Cohan is pleased to present James Cohan: Twenty Years, a special group exhibition celebrating the gallery’s twentieth anniversary.

Katie Paterson has created the 30th and final work for Ingleby Gallery’s public art project Billboard for Edinburgh.

Paterson’s billboard image is one of her Ideas sentences. These are short haiku-like statements reveal some of Paterson’s most exciting and seemingly impossible ideas. Paterson has gone on to realise a number of these poetic phrases as physical artworks. What gradually becomes clear with Paterson’s work is that the distance between the realised and the unrealisable is not to be relied upon.