Kate Cooper

MAY 8: VENICE ON STRIKE As a cultural worker, lam in solidarity with the cultural workers who have called the MAY 8 STRIKE to collectively say no to the genocide pavilion at the 61st Venice Biennale. Today marks the first Biennale strike called since 1968, and at a larger scale than then. The artists and workers united for the liberation of Palestine! Please grid post and share to show your support. @angalliance @biennalocene

I stand in solidarity with the signatories of ANGA's demands and support their call to exclude Israel from the Venice Biennale. The widening war we are witnessing did not appear overnight. It grows from years of normalizing Israel's genocide in Gaza and its 78 year occupation of Palestine, allowing institutions to treat it as an exception. Culture must not provide cover for genocide and the brutal imperial aggression being unleashed on Iran and Lebanon. No genocide pavilion. No artwashing in our name. Share this post to voice your support. @angalliance

Film Screening: To Kill a War Machine (2025) Sunday 02.11.2025, 19:00 at Filmtheater Kriterion Dear Friends I’ve organised a screening of the documentary To Kill a War Machine (2025), directed by Hannan Majid and Richard York, co-founders of Rainbow Collective. Through real-time bodycam and phone footage, frontline activists take audiences along on their audacious raids to tear down arms factories across the UK. Since 2020, the direct-action group Palestine Action has documented its operations to dismantle companies and infrastructure supplying weapons to the ongoing genocide in Gaza. In July this year, Palestine Action was proscribed as a terrorist organisation by the UK government. As a result, the film’s UK theatrical release was blocked and the directors removed the online version. It is currently forbidden to screen this film or to support Palestine Action in the UK. After the talk there was be a Q&A with Netherlands based activists from Fok Fokker @fok.fokker and Geef Tegengas @geeftegengas moderated by Ayesha Ghanchi-Goemans @ayeshavantottenham Organised with @de_appel and @kriterionamsterdam links in their bios for tickets 🇵🇸

Screening Infection Drivers (2018) this Saturday as part of Hyper Functional, Ultra Healthy @somersethousestudios 🎈 Thrilled to be showing alongside Danielle Brathwaite-Shirley @ladydangfua and in conversation with Johnny Golding @johnnydephilo . Huge thanks to @a___________________________z and @marina_doriti5 for putting this programme together.

@angalliance Art Not Genocide Alliance (ANGA) calls for the exclusion of Israel from the Venice Biennale. As the art world readies itself to visit the Giardini’s nation-state diorama, we say platforming art representing a state engaged in ongoing atrocities against Palestinians in Gaza is unacceptable. No Genocide Pavilion at the Venice Biennale. Link in bio for full letter #angalliance #labiennaledivenezia #venicebiennale #venicebiennale 2024 #foreignerseverywhere #labiennaledivenezia2024

Its the final week to visit my first solo exhibition in Ireland ‘Ground Truth/ Fírinne Bhunúsach’ @projectartscentre closing this Saturday 10th of February In the accompanying exhibition text Travis Diehl wrote: ‘Kate Cooper’s daughter’s drawings are variations on a theme—a circle, two smaller squares or circles, a line. Sometimes there’s a triangular nose, or rays (eyelashes? hair?), but with animal consistency they’re recognizable as human faces. It’s a kind of training set, like training an AI, except children can extrapolate from less input. Rather than vivisect ourselves, we model ourselves. In psychoanalysis as well as internal medicine, we create other selves to examine. AI has been shaped to digest and excrete human-made information in ways we can understand—to show us ourselves.’ Ground Truth/ Fírinne Bhunúsach is supported by the Mondriaan Fonds and Stichting Niemeijer Fonds. The exhibition is curated by @saragreavu Link in bio for the full text 🕷️

Opening tomorrow in Dublin, Ground Truth / Fírinne Bhunúsach’ @projectartscentre my first solo exhibition in Ireland! 🇮🇪 A huge thank you to the brilliant curator @saragreavu for all her support and the dedicated team at Project Arts Centre, including @_rachel_botha_ A big thanks to Travis Diehl for the text, and @samdegroottt for the graphic design for the show. Thanks as always to Marian van Bodegraven and Theo Cook who worked closely with me on the exhibition and Joeri @torvs for his ongoing collaboration producing the soundtrack for the piece. So much love for my dear friends @hera_sc @xbonaventurex @rahila_haque for the conversions, community and encouragement they always give me when making work. It keeps me going and gives me hope.

Currently on View. Rigged (2014) is included in an installation that I’m presenting in ‘After Laughter Comes Tears’ at @mudamlux curated by @joelvalabrega and @clementineproby on view until 7th January 2024. I’m excited to be showing alongside so many brilliant artists including: @sinforvictory @moniraism @pauline_curnier_jardin @futuristiclesbian @no_sid Huge thanks to @bettinastein and all the team @mudamlux Slide 1: Rigged (2014) Slide 2 & 3: Symptom Machine (2014-18) Mudam, Luxembourg 📸 @theo.colour

‘Scantury Sites’ opens this Thursday at de Appel @de_appel with readings from curator and writer Rahila Haque @rahila_haque and artist and writer Jort van der Laan. Doors at 6.30, starts at 7pm. A huge thanks to all the team @melissa__appleton @itaichala @monicageorgieva @katjunhau and also @marianvanbodegraven @theocook and @torvs Doors at 6.30, starts at 7pm. No need to rsvp! See you there! 🧬

Last chance to see my work on view in Aichi Museum of Art, Japan as part of Aichi Triennale @aichi2022 Thanks again to @mami_kataoka_2018 and the whole team for making this happen. Image credit: Untitled (After Somatic Aliasing), 2022

Thrilled to have some new work included in ‘The Painters New Tools’ organised by @deankissick on view until 24th September @nahmadcontemporary

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