a catalogue of tender evidence

When objects are kept in safekeeping due to their fragile condition, the labour of those who care for them often remains unseen. Catherine Spet interweaves the absence of objects with outdated notions of conservation and the ongoing issue of “shadow work” within the field. She reflects on whispers and sighs, on hidden stories gradually coming to light. Judith Schalansky’s “An Inventory of Losses” (2020) serves as a point of reference, where the histories of objects are narrated through orally transmitted legends, descriptions, and traces of evidence. Catherine Spet She sees her artistic focus in the synthesis of various media-theoretical and techno-philosophical concepts and their influence on societal questions with a special interest in AI, AR, XR and game art and building audio-visual experiences. Her works were exhibited at NRW Forum Düsseldorf, Athens Digital Arts Festival, CIVA Festival, Kaleidoskop Kulture Festival Novi Sad, Amaze Festival Berlin, The Wrong Biennale, ASVOFF Paris, ArtSect Gallery London, IAA Mobility Messe München, Re:Publica Berlin, Krahuletz-Museum Eggenburg, SHOT Conference at USC California Los Angeles, MDW Wien, FORWARD Festival. Spet lives and works in Vienna.