Panel 1. ‘For How Much Longer Must We Improvise? II’ 2011. Painted steel industry off-cuts with rebar structure. 225 x 118.5 x 10 cm In rural Poland, as in many countries, gates and fences are often made from industry off-cuts out of necessity rather than choice. Within this limitation, a great amount of creativity is displayed.

‘For How Much Longer Must We Improvise? II’ 2011. Painted steel industry off-cuts with rebar structure. 216 x 113.5 x 1.3 cm In rural Poland, as in many countries, gates and fences are often made from industry off-cuts out of necessity rather than choice. Within this limitation, a great amount of creativity is displayed.

Panel 3. ‘For How Much Longer Must We Improvise? II’ 2011. Painted steel industry off-cuts with rebar structure. 215 x 103.5 x 1.5 cm In rural Poland, as in many countries, gates and fences are often made from industry off-cuts out of necessity rather than choice. Within this limitation, a great amount of creativity is displayed.

Panel 4. ‘1st Neighbour, once removed’, 2017. Steel structure made with painted industry off-cuts. Steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 220 x 120 x 1.5cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset Made to be the first new add-on to initiate the work Continuousslessness, panel 4 is a sympathetic mirroring of the previous three panels but made using Turkish industry metal off-cuts. The curved metal profiles resembling breasts were considered by the metal workers to be imperfect versions, made while creating the pieces for panel 6, and then subsequently incorporated into panel 4. The 5 crescent shapes down the middle are entirely coincidental.

Panel 5. ‘The (Liquid) Host/ess’, 2017. Steel, wine-stained glass blown by İrfan Özedincik, copper beaten by Vezir Erol and Artin Aharon, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. Initial rendering by Giulia Archimede. 235 x 123 x 30 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset Hi, welcome! What will you have to drink? Tea?-freshly brewed coffee?-water?-sparkling or natural? Hot or cold? Perhaps a spritz/soup on this hot/cold day? Or milk? A nice glass of milk? Or something stronger? A red or white wine, gin, or a vodka/rum/gin perhaps? A juice? Sure, I can make a smoothie if you can wait? Brzzzzzzrzrzrzrzkrzzzzgrzzzzzzzzz. Gruzzzzzurrrrrr, brrrrrzrzrzzzzzzzzz. Huh? What did you say? Water is fine? I’ve only got this carrot to grind up and it’s done. Bgrzrzrzrzrrzrrzrzzzzzzdz… Here you are, so how are you?

Panel 6. ‘A recently separated couple, who still share a sense of outrage’, 2017, Powder-coated steel, plastic, cork paste, leather, cotton string, painted aluminium, plexi-glass panels produced by Suat Ula and Ece Ak, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 202 x 75 x 3cm (Spider plant c. 20 x 20 x 20cm) Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset If eyebrows are the punctuation of the face, then what a shame it is that they can only move up and down and not pivot. A turn would give them so much more space for expression.

Panel 7. ‘A recently separated couple, who still share a sense of outrage’, 2017, Powder-coated steel, plastic, cork paste, leather, cotton string, painted aluminium, plexi-glass panels produced by Suat Ula and Ece Ak, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 202 x 75 x 202 x 75 x 3cm (Spider plant c. 20 x 20 x 20cm) Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset

Panel 9. ‘Turnball’s Gate (continuity and change)’, Powder-coated steel, rust-primer paint, straw, wood. Steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. Initial rendering by Giulia Archimede. 241 x 235 x 166 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset ‘The only thing that is constant is change’ Heraclitus The writing team behind the HBO series Veep struggled to come up with the most meaningless campaign slogan they could think of for Julia Louis-Dreyfus’s character, US president Selina Meyer, finally settling on ’Continuity with Change’. In a comic twist of fact meets fiction, Prime Minister Malcolm Turnbull ended up using the phrase ‘Continuity and Change’ ahead of his 2016 election campaign.

Panel 10. ‘The Bride Stripped Bare…’, 2017, Powder-coated steel, painted aluminium, Linden wood carved by Özkan Şener, steel work produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan. 185 x 121 x 32 cm Exhibition history: created for ‘A Good Neighbour’, 15th Istanbul Biennale, Curated by Elmgreen and Dragset

Panel 11. '...by her three ugly sisters' (St Mary Magdalene), 2017 Painted steel, plexiglass, silicon, synthetic hair, plastic 198 x 102 x 4cm St Mary Magdalene was believed to have probably been a prostitute before she met Jesus who cast out her demons and she subsequently became one of his most faithful followers. After his death, it is believed that she became a hermit, growing her hair so long that she could tie a belt around her waist and fully cover herself with it. Donatello’s white poplar Mary Magdalene 1453-1455, now housed in the Museo dell’Opera del Duomo in Florence shows her as a tall but haggard, toothless, rough and repentant figure while Tilman Riemenschneider’s rendition (1490-92) housed in the Bayerisches Nationalmuseum, Munich, sees her with thick sprouting body hair. Created in Florence at the Villa Romana for Fiac art fair 2017, Paris.

Panel 12. '...by her three ugly sisters' (St Agatha), 2017 Painted steel, stained and lacquered Oak, leather, plastic, water 157 x 70 x 24cm St Agatha was from a wealthy family in Catania, Sicily, who was martyred during the persecution of Decius (250–253AD). According to Jacobus de Voragine, the 15 year old Agatha dedicated her virginity to God and rejected the advances of a Roman prefect named Quintainus who then persecuted her for this rejection and her Christian faith, sending her to be raped at a brothel. Once there, she steadfastly refused intercourse at which point Quintianus threw her into prison, torturing her by removing both her breasts and rolling her over hot coals. She was then sentenced to be burnt at the stake, but an earthquake saved her from her fate. St Peter appeared to her in her prison cell and healed her wounds and she died with her virginity in tact in prison in 253AD. Created in Florence at the Villa Romana for Fiac art fair 2017, Paris.

Panel 13. '...by her three ugly sisters' (St Lucia), 2017 Painted steel, marble, cardboard, string, glass, plastic 181 x 47 x 20cm Around 30 years after St Agatha died, St Lucia was born in Syracuse. She was also from a wealthy family, but her father died when she was just 5, leaving her without a guardian and her mother, who suffered from an obscure bleeding disease was afraid for her future and so when she was old enough, promised her in marriage to the son of a wealthy pagan family. St. Lucia had however already consecrated herself to God and made the journey to St. Agatha’s shrine in Catania with her mother in order to seek a cure for her bleeding. While there, St Agatha appeared to her and cured her mother. As thanks, St Lucia begun distributing her dowry to the poor of Sicily, but on hearing this, her betrothed denounced her to the Governor of Syracuse who ordered her make an offering to the emperor’s image. When she refused, he sentenced her to be raped in a brothel. When they came to arrest her, allegedly she could not be moved, even by a pack of oxen. They then tried to burn her on the spot, but the wood would not light. Paschasius then ordered the guards to remove her eyes. Another version has Lucy taking her own eyes out in order to discourage a persistent suitor who admired them. In the end she was killed by the sword. Created in Florence at the Villa Romana for Fiac art fair 2017, Paris.

Panel 14. ‘Mouth to Mouth or Either/Or’, 2018 Part 1. of the Word Count series. Steel, resin, glass, lacquer, teeth made with assistance from Bianca Benenti It’s not you it’s me…and other refrains. Exhibition history: created for ‘Boiling Frogs’ at Kunstverein die Rheinlande und Westfalen, curated by Eva Birkenstock, 2018

Panel 15. ‘Your words are only half your own’, 2018 Part 2. of the Word Count series. Steel, lacquer, faces made with assistance from Bianca Benenti Exhibition history: created for ‘Boiling Frogs’ at Kunstverein für die Rheinlande und Westfalen, curated by Eva Birkenstock, 2018

Panel 16. ‘Avant Guard I’, 2018 Part 3. of the Word Count series. Steel, Plexiglas, rubber, water, made with assistance from Bianca Benenti The penitent thief found work in security. Exhibition history: created for ‘Boiling Frogs’ at Kunstverein für die Rheinlande und Westfalen, curated by Eva Birkenstock, 2018

Panel 17. ‘The Professor’, 2018 Part 4. of the Word Count series. Steel, neon lacquer, plastic, made with assistance from Bianca Benenti, ‘The Martyrdom of Professor Sanchez’ 3’51”, and ‘Plot holes’ 2’, video loops. Introducing Word Count, a fragmentary film project begun in 2016, which takes as it’s premise a dystopian linguistically limiting conceit. In the near future, scientists discover a correlation between the dramatically rising sea levels and the amount of words that we speak. It is decided that every citizen of the earth shall be limited to 433 words per day. This comes to be known as Cage Law after John Cage’s 4’33”. Three main punishment levels are imposed for breaking Cage Law, the final of which involves the suspect’s head being sealed inside a watertight hood. If the suspect chooses to continue to speak, the internal waters rise. Exhibition history: created for ‘Boiling Frogs’ at Kunstverein für die Rheinlande und Westfalen, curated by Eva Birkenstock, 2018

Panel 18. ‘Avant Guard II’, 2018 Part 5. of the Word Count series. Steel, Plexiglas, plastic, water, made with assistance from Bianca Benenti The impenitent thief also found work in security. Exhibition history: created for ‘Boiling Frogs’ at Kunstverein fur die Rheinlande und Westfalen, curated by Eva Birkenstock, 2018

Panel 19. Passive/Aggressive, 2019 Steel, Plexiglas, PVC, water, leather Made with assistance from Bianca Benenti and Guangzhou Hongyi Toy Manufacturing Co. Ltd. 190.5 x 174 x 22 cm For want of a Venn diagram, the circles cut an angle and dripped. Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 20. The Performer, 2019 Steel, velvet, Plexiglas, acrylic paint, nylon. Made with assistance from Bianca Benenti. 224 x 188 x 50 cm Tasty, sexy, playful, bold. Loves to cook. The fingernail clippings riddled the air with anxiety. Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 21. The Date, 2019 Steel, wood, Plexiglas, plastic foil, Bay leaves, beer, wine, glass, net, wood veneer, fabric Made with assistance from Bianca Benenti. 151 x 179 x 120 cm In every relationship there is a gardener and a garden. (The Performer and The Cavity match). Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 22. The Swiper, 2019 Steel, leather, rubber, Plexiglas, artificial hair. Made with assistance from Bianca Benenti. 224 x 163 x 3 cm ‘Leaping here, leaping there, leaping, leaping everywhere’. The leaping order of St. Beryl, written and performed by Peter Cook and Dudley Moore in ‘Not Only But Also’ (TV series) 1970 ‘For my brother Esau is a hairy man, but I am a smooth man’. Alan Bennett reading Genesis 27:11 Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 23. The Cavity, 2019 Steel, Plexiglas, paint. Made with assistance from Bianca Benenti. 161 x 94 x 1.5 cm Defined by the negative space created, a fragment of a younger self, looking for a good fillin’. Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 24. Feedback, 2019 Steel, Plexiglas, stained oak Made with assistance from Bianca Benenti. 207 x 61 x 30cm ‘Greetings from the Background’ (The children eat their revolution) Lucius Burckhardt, 1985 Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 25. The Ex, 2019 Steel, wood, Plexiglas, foil, tape Made with assistance from Bianca Benenti. 190.5 x 88 x 2cm Created for ‘Camouflage’ at LOKremise St Gallen curated by Lorenzo Benedetti

Panel 26. First Intermission, 2019 Made with assistance from Bianca Benenti 236 x 107 x 4cm Steel, fabric, wood, paint. There used to be a certain acceptance of friendly fire involved in a missionary’s work. Created for ‘A Shiver in Search of a Spine’ Arario Gallery Seoul, Korea

Panel 27, Red Tape, 2019 Made with assistance from Bianca Benenti 202 x 149 x 2cm Steel, brass, paint A punishment in search of a crime – causes rubbing, pinching and a chaffing. Created for ‘A Shiver in Search of a Spine’ Arario Gallery Seoul, Korea

Panel 29, Revenge, 2019 Made with assistance from Bianca Benenti 200 x 172 x 30cm Steel, Plexi glas, fabric, polymer clay, acetate, electrical cable, light bulbs, paint. The story goes that a jilted woman smuggled herself into her cheating ex-partner’s home and taking her revenge, she carefully sewed shrimp into the curtains. Her ex-partner’s new love affair was subsequently thwarted by the humming stench of rotting crustaceans, which for all his efforts, he was unable to locate. Created for ‘A Shiver in Search of a Spine’ Arario Gallery Seoul, Korea

Panel 30, Climate Changing Room I, 2020 Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan First exhibited on the beach of Silbersee II lake in Haltern am See, positioned on the natural border between the FKK (nudist) area of the beach and ‘regular’ beach. 200 x 110 x 2cm Created for Ruhr Ding: Klima, 2021 curated by Britta Peters and Vlado Velkov, photo by Daniel Sadrowski

Panel 31, Climate Changing Room II, 2020 Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan First exhibited on the beach of Silbersee II lake in Haltern am See, positioned on the natural border between the FKK (nudist) area of the beach and ‘regular’ beach. 200 x 110 x 2cm Created for Ruhr Ding: Klima, 2021 curated by Britta Peters and Vlado Velkov, photo by Daniel Sadrowski

Panel 32, Climate Changing Room III, 2020 Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan First exhibited on the beach of Silbersee II lake in Haltern am See, positioned on the natural border between the FKK (nudist) area of the beach and ‘regular’ beach. 200 x 110 x 2cm Created for Ruhr Ding: Klima, 2021 curated by Britta Peters and Vlado Velkov, photo by Daniel Sadrowski

Panel 33, Climate Changing Room III, 2020 Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan First exhibited on the beach of Silbersee II lake in Haltern am See, positioned on the natural border between the FKK (nudist) area of the beach and ‘regular’ beach. 200 x 110 x 2cm Created for Ruhr Ding: Klima, 2021 curated by Britta Peters and Vlado Velkov, photo by Daniel Sadrowski

Panel 34, Climate Changing Room V, 2020 Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan First exhibited on the beach of Silbersee II lake in Haltern am See, positioned on the natural border between the FKK (nudist) area of the beach and ‘regular’ beach. 200 x 110 x 2cm Created for Ruhr Ding: Klima, 2021 curated by Britta Peters and Vlado Velkov, photo by Daniel Sadrowski

Panel 35, Pandemic Panel I, Safe Sex - split screen time, 2020 Stained and painted pine wood, beech wood hinges, PET sheet, acrylic paint, steel. 204 x 107 x 20cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 36, Pandemic Panel II, Safe Sex - split screen time, 2020 Stained and painted pine wood, beech wood hinges, PET sheet, acrylic paint, steel. 204 x 107 x 20cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 37, Pandemic Panel III, Long distance relationship, 2020 Stained and painted pine wood, beech wood hinges, PET sheet, acrylic paint, plexi glas, sheep skin, wool, steel. 159 x 102 x 3 cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 38, Pandemic Panel IV, Touch Screen 2020 Stained and painted pine wood, beech wood hinges, PET sheet, acrylic paint, steel. 160 x 106 x 3 cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 39, Pandemic Panel V, Long after she had left the room, 2020 Stained and painted pine wood, beech wood hinges, PVC, perfume brand in glass bottle similar to that purchased by Danuta Fudakowska with the first money she earnt as an immigrant to the UK from Poland, thread, velcro, steel. 230 x 121 x 3cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 40, Pandemic Panel VI, Virtually tickle 2020 Stained and painted pine wood, beech wood hinges, PET sheet, peanuts, varnish spray, steel. 255 x 57 x 3cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier

Panel 41, Pandemic Panel VII, Tugs and Tufts 2020 Stained and painted pine wood, beech wood hinges, PET sheet, ceramic, nylon eyelashes, beads, thread, steel. 255 x 57 x 3cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 42, Pandemic Panel VIII, Bust, 2020 Stained and painted pinewood, beech wood hinges, PET sheet, acrylic paint, steel. 184.5 x 81 x 3cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier

Panel 43, Pandemic Panel IX, Busted 2020 Stained and painted pinewood, beech wood hinges, PET sheet, acrylic paint, steel wool, Velcro, steel. 184 x 81 x 3cm Part of series (panels 35-43) made for Love Letters: Stories of Distant Proximities, at Horse and Pony, Berlin, in discussion with Marie Von Heyl and Fette Sans, curated by Lea Schleiffenbaum and Marie DuPasquier.

Panel 44, Portrait of the artist as a filter feeder I, 2022 183 x 34 x 2cm Copper, steel, matt paint and production assistance from Lema Ahmadi Panel 45, Portrait of the artist as a filter feeder II, 2022 210 x 90 x 3cm Steel, blown glass, brass, plexiglas, acrylic paint, varnish, hemp and production assistance from Lema Ahmadi Panel 46, Portrait of the artist as a filter feeder III, 2022 183 x 34 x 2cm Copper, steel, matt paint and production assistance from Lema Ahmadi Portrait of the artist as a filter feeder - chronic exposure. The Canadian artist Gillian Genser worked for 15 years using sanded Atlantic mussels shells she bought in bulk to create her figurative sculptures. After long days of work she began to have unnerving symptoms like nausea, hearing loss and headaches. The more she worked the worse the symptoms became, progressing to cramp, fatalistic and combative mood swings, spatial disorientation, slurred speech and the onset of partial body paralysis. Medical specialists were at a loss as to the cause. In 2015 she was finally diagnosed with heavy metal poisoning. Doctors found high levels of arsenic and lead in her blood, the result of chronic exposure. Mussels, like other filter feeders, process litres of water through their bodies daily, extracting both nutrients and toxins. The accumulated toxins are deposited in their shells, which makes them wonderful water purifiers, but a danger when their toxic shells are reabsorbed into the biosphere.