Catherine Ryan is an artist, writer and performer from Melbourne, Australia. She first began exhibiting solo gallery-based work in 2013. Catherine works in media including performance, sound, text, video and installation. She has written accompanying creative and philosophical texts for a number of art projects (including the 2012 Next Wave project, Flyway, by Elizabeth Dunn), as well as miscellaneous pieces in academic and not-so-academic publications. These include the Manifesto for the New, Political Pop Song, a tongue-in-cheek polemic about the need for a new sort of pop song that would combat the atomized way in which suffering is experienced under neoliberal capitalism.
As a musician, Catherine has been part of performances at the 2016 Midsumma Festival (The Dad Show, by Bron Batten) and the Next Wave Festival Club (Human-Powered Karaoke).
Since 2012, Catherine has had an ongoing collaborative artistic practice with Amy Spiers. Together, they work in site-specific installation and live and participatory performance, often employing aesthetics that are disruptive and absurd. Their works explore the control and policing of what is visible and invisible in public space. Their works have recently been presented in exhibitions including Borders Barriers Walls, Monash University Museum of Art, Melbourne, Australia, 2016; Sorry You Missed Me, Royal College of Art, London, 2016; Während der Ausstellung ist das Museum geschlossen, Museum für Neue Kunst, Freiburg, Germany, 2016; MONA FOMA Festival, Salamanca Art Centre, Hobart, 2016; Performing Public Art Festival, Vienna Biennale, Austria, 2015.
Catherine’s background is in philosophy and critical theory. From 2009 to 2011 she was Editor-in-Chief of the academic journal Colloquy: text theory critique. Her academic work focuses on the philosophers Michel Foucault and Gilles Deleuze.