Ben Luke
speaker
1,919 appearances
8 recordings
1 series
first heard Apr 2026
last heard 1 Sep
Ben Luke’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 8 in all, peaking in Aug 2026 with 3.
Appearances
2004 was a particularly epiphanic year.
She made Dasbet, or the Bed, in 2004, which we discussed in our conversation, in which she sprayed
Painted her own apartment in Dusseldorf, including a designer bed, a desk and bookshelf, cardboard boxes and the floor and wall.
Immediately she made a more public version, which she called Infinite Logic Conference, in which a bed surrounded by domestic objects was placed against a vast wall in a gallery, and the entire tableau was drenched in intoxicating sprayed colour.
That same year, she made The Poise of the Head and de Anderin Folgen, in which
She brought soil into the gallery space and it became a new surface on which her paint was sprayed, something else we discuss.
In that same piece, she also played with spraying directly on the wall in relation to the paintings on canvas, a dynamic that remains a fertile part of her practice today.
By placing the canvases within her installations, she could probe the interaction between positive and negative shape and form, between object and architecture, between the solid.
And the ephemeral.
She's productively used stencils to amplify some of these considerations.
As part of her continued expansion into three dimensions, which included rock and shard-like sculpted forms, as well as found objects and materials, Catherina brought stones and by 2013 the trunks and roots of trees into her installations.
She also took on site-specific projects in urban and suburban environments, made directly on buildings for a number of years.
Years, so it was perhaps inevitable that she would eventually paint directly onto the landscape.
Landmark pieces in this regard are Rockaway, made in 2016 for MoMA PS1 in New York's series of that name, in which Katarina's magenta and white paint covered an abandoned military building at Fort Tilden on New York's Rockaway Peninsula and spilt out onto the nearby beach, and asphalt air and hair made the following year in Aarhus in Denmark and
Stretching across a public park.
Inside the gallery, meanwhile, Caterina has continued to push into new territories.
Among much else, she's tackled huge, draped, tangled, and suspended expanses of textiles in which the experience of her colour arrangements was arguably more subjective for viewers than ever, since every fold or twist in the material could reveal new and surprising elements, and no two views of the entirety of the work could be exactly the same.
Her public projects also showed huge ambition, like choir from 2025, in which she immersed the whole of Messerplatz, the location of the Art Basel Art Fair in Switzerland, in white and magenta paint.
I spoke to Caterina ahead of her major exhibition in the autumn and winter of twenty twenty six at Munch in Oslo, the museum dedicated to the artist Edvard Munch and his legacies, where she's showing a new bed related installation,
Among a wealth of other work.
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