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Kate Newby edition launch at World Food Books

Kate Newby, The more I listen to it the more I love it, 2015. Photograph: Christo Crocker.

Gertrude Contemporary is pleased to launch a new editioned artwork by Kate Newby in order to help fundraise for her major, forthcoming solo exhibition at Gertrude Contemporary, which entails three site-specific projects in and around the gallery complex, one of which is a sonic installation with collaborator Samuel Holloway. The launch will be held on Thursday the 21st of May at World Food Books from 6pm.

Kate Newby
The more I listen to it the more I love it, 2015
edition of 15
ink on paper
28 x 21.5 cm each sheet
$750 per set, 2 sheets per set, unframed
$950 framed
Courtesy of Hopkinson Mossman, Auckland

The more I listen to it the more I love it concerns travel, interpretation and storytelling.The edition consists of two A4 text works.The sentence repeated in the works was transcribed from Newby’s handwriting by street typists in Santo Domingo, Mexico City with varying degrees of verisimilitude to the original. Newby’s only instruction to the typist was to type what they see.

Santo Domingo is a small area in Mexico City that contains the early eighteenth-century Church of Santo Domingo.To the south of the Church is Plaza Santo Domingo, a district populated with scribes who often produce written documents for illiterate clients.The district is also renowned for the production of false documents. Local police suspect that, in addition to the 242 print shops that operate legally in this zone, there operate an additional 614 printers set up to falsify documents inside apartments and other living quarters. Newby first visited Santo Domingo in 2010, when she undertook a residency at SOMA along with artists Fiona Connor, Sanné Mestrom and Louise Menzies. Since then, Newby has returned several times to create new text works of which The more I listen to it the more I love it is the latest.

There are two versions of the same sentence in the edition.The first version was made on the 6th of February 2015 and is a wholly accurate transcription of Newby’s note, reading:‘Nobody ever believes this story.’ On this occasion, Newby was accompanied by a Spanish-speaking friend who not only conveyed her instructions to the typist, but also corrected her messy handwriting. Newby repeated the exercise a few days later with a different friend who did not modify her handwriting. On this occasion, the transcription tends to read: ‘Robady Ever Belcruel Thu Stoy.’ Both the title of the work and the typed sentence pivot around shifters—'it' and 'this'—that do not reveal their subject, leaving the work open for chance and contingency to rush in.

Kate Newby’s recent solo exhibitions include: I feel like a truck on a wet highway, Lulu, Cuauhtémoc, Mexico, 2014; Tiny-But-Adventurous, Rokeby, London, 2014; Maybe I won’t go to sleep at all., La Loge, Brussels, 2014; Let the other thing in, Fogo Island Gallery, Newfoundland, 2013; What a day., Hopkinson Mossman, Auckland, 2013; and How funny you are today, Green Acres Garden, Clinton Hill, Brooklyn, 2013. Recent group exhibitions include: NEW15, curated by Matt Hinkley, Australian Centre for Contemporary Art, Melbourne, 2015; The January February March (with Tim Saltarelli, Jennifer Kabat and Anna Moschovakis), New York, 2015; Eraser, Laurel Gitlen, New York, 2015; The Promise, Arnolfini, Bristol, 2014; and On the Blue Shore of Silence, Tracey Williams, New York, 2014; Portmanteaux, Hopkinson Mossman, Auckland, 2014; Thin Air, curated by Brooke Babington, Slopes, Melbourne, 2014; Lovers, Starkwhite, Auckland, 2014. Forthcoming exhibitions include a solo exhibition at Laurel Gitlen, New York in June 2015; and the group exhibition Inside the City at GAK Gesellschaft für Aktuelle Kunst, Bremen in July 2015.

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