Heimo Zobernig’s simultaneous exhibitions at Tate St. Ives and the Calouste Gulbenkian Foundation Modern Art Centre brought together previous works by Zobernig himself, artworks from each institution’s collection, and new work created in response to the galleries. Together, the exhibits highlighted how Zobernig’s curatorial methods play as important a role in his exhibitions as any individual artwork on show.1
The publication we designed as a companion to the exhibitions can be read from either end, taking one of the two exhibitions as a starting point until they meet at the centre with the object information. We commissioned installation photography to incorporate into this double-sided narrative, to highlight the themes at work in the show.
For example, furniture within the exhibition such as the display cases and vitrines, which housed some of the exhibits, became artworks in their own right. ↩