18 in archive
2026
Film — 70 min
A semi-fictional dark comedy following CHARLOTTE as an artist’s residency offering a free studio and home gradually becomes a situation of control and eviction. The film explores success and failure, housing, friendship, autonomy and the power dynamics surrounding artistic support.
2019–ongoing
An expanding television and performance series about privilege, failure and daily life in the art world.
2025
Installation — 31 cardboard panels, each 2 × 1.30 m
A site specific installation at PART International Art Residency Austria, as part of the exhibition DOMESTICATED
2025
Performance — approx. 45 min
Set 100 years in the future, GASH performs an illegal cabaret while attempting to understand our present through an inherited diary. The black comedy draws parallels between contemporary politics and an imagined future in which feminist and queer rights have been reversed.
2025
Installation / Public Art Campaign — dimensions variable
The work was made for Democratic Life, a project by the Academy of Fine Arts Vienna and Gewista Citylights.
2024
Musical performance — 150 min
A visual-art performance structured as a musical, following GASH as she is sent to teach a group of disillusioned painting students at a fictional Viennese art academy. Through songs, cardboard scenery and explicit humour, the work examines failure, female sexuality, burnout, sexism and the absurdities of the art world.
ONGOING
Large painted canvas sets made for performances including The Sound of Losers and I Might as Well Be a Lemon.
2023
Firework performance with Martin Evans, my dad, at the Kurzbauergasse sculpture studios during our diploma presentation.
2023
Installation — dimensions variable
A large-scale installation of cardboard cars based on vehicles from films and television series associated with failure. Presented in a former car showroom, the work transforms these familiar vehicles into sculptural characters alongside drawings, models and a mockumentary film.
2023
Mockumentary — 28:58 min
THE CURATOR hires a film crew to document the installation of her first institutional exhibition, turning the real Kunsthalle Wien Prize exhibition into part of the fictional Breeder or Sucker universe. The work satirises artistic stereotypes, administration and institutional bureaucracy.
2023
Installation / Video / Performance — dimensions variable
Created for Über das Neue / On the New at Belvedere 21, the installation brings the fictional art space LOCATION from Breeder or Sucker Ep. 1 into a real institutional exhibition. It combines Breeder or Sucker Episode 3, FOMO, as well as the Behind the Scenes footage, accompanied with oversized cardboard sculptures, cement objects and live performance, Gash’s Revenge Plays.
2019–2023
Text / Performance — 20 min performance version
A collection of 17 humorous feminist scripts, poems, stories and song lyrics based on everyday conversations, relationships and encounters. The works combine sincerity and irreverence, repeatedly returning to failure and interpersonal misunderstanding. Portfolio 2026_English
2023
Film — 27:45 min
A mock behind-the-scenes documentary following the chaotic production of Episode 3. It blurs the distinction between the fictional world of the series and the actual process of making it.
2022
Installation — 4 × 3 × 5.5 m, dimensions variable
A full-scale cardboard reconstruction of an artist studio apartment from which I had been evicted, functioning simultaneously as sculpture, stage and screening room. The installation examines failure and the unstable relationship between lived experience and its fictional reconstruction.
2021
Musical performance — 150 min
An absurd murder mystery set inside a chicken coop, following Little Eddie as she investigates the killing of another hen. Inspired by cases of violence against women, the musical uses humour and absurdity to examine misogyny, institutional power, fear and friendship.
2019
Performance — 30 min
A two-part theatrical performance following CHARLOTTE through situations in which she is ignored, patronised or talked over. The work uses humour to explore gendered everyday behaviour before CHARLOTTE’s alter ego KEVIN finally intervenes.
2019
Performance — approx. 90 min
A scripted performance following art students through exhibition openings, relationships, drugs, art and sex. Using humour and a handmade cardboard-and-plaster set, the work satirises gendered power structures and behaviour within the art world.
2016
Firework performance
Created with my pyrotechnician father, the performance introduced my artist name through a yonic firework display reading “THE BIRTH OF CHARLOTTE GASH, BORN 2016.” It was staged at an all-male rugby tournament, where the initially confused audience eventually began chanting “GASH!”
No work is tagged with this form yet.
2026
A semi-fictional dark comedy following CHARLOTTE as an artist’s residency offering a free studio and home gradually becomes a situation of control and eviction. The film explores success and failure, housing, friendship, autonomy and the power dynamics surrounding artistic support.
2019–ongoing
An expanding television and performance series about privilege, failure and daily life in the art world.
2025
A site specific installation at PART International Art Residency Austria, as part of the exhibition DOMESTICATED
2025
Set 100 years in the future, GASH performs an illegal cabaret while attempting to understand our present through an inherited diary. The black comedy draws parallels between contemporary politics and an imagined future in which feminist and queer rights have been reversed.
2025
Gewista and the Academy of Fine Arts Vienna joined forces to launch Demokratie Leben; a campaign with artistically designed subjects on various digital platforms, which aims to accompany the public in everyday life, encourage reflection, send a strong message for democracy, and remind people how we want to live together in this country. BEDROOM was chosen to be displayed across Gewista’s city lights for one month. In response to the proposal, BEDROOM is a scene made of cardboard props from my studio, the books included reflect recurring concerns in my practice: the absurdity of the male genius in The Loser, and experiences of queerness, antisemitism and political oppression in the work of Oscar Wilde, Christopher Isherwood and Arthur Schnitzler. Isherwood’s The Berlin Stories, which depicts queer life in Berlin during the rise of fascism, feels particularly relevant in the context of the renewed strength of the far right in Austria and across Europe, while Austrian feminist magazines and texts such as Men Explain Things to Me connect these histories to contemporary feminist discourse. The works do not need to be familiar to the viewer; their titles operate as references in themselves, suggesting storytelling, reading and the exchange of knowledge as ways of understanding different realities and resisting increasingly restrictive political narratives.
2024
A visual-art performance structured as a musical, following GASH as she is sent to teach a group of disillusioned painting students at a fictional Viennese art academy. Through songs, cardboard scenery and explicit humour, the work examines failure, female sexuality, burnout, sexism and the absurdities of the art world.
ONGOING
Large painted canvas sets made for performances including The Sound of Losers and I Might as Well Be a Lemon.
2023
Firework performance with Martin Evans, my dad, at the Kurzbauergasse sculpture studios during our diploma presentation.
2023
A large-scale installation of cardboard cars based on vehicles from films and television series associated with failure. Presented in a former car showroom, the work transforms these familiar vehicles into sculptural characters alongside drawings, models and a mockumentary film.
2023
THE CURATOR hires a film crew to document the installation of her first institutional exhibition, turning the real Kunsthalle Wien Prize exhibition into part of the fictional Breeder or Sucker universe. The work satirises artistic stereotypes, administration and institutional bureaucracy.
2023
Created for Über das Neue / On the New at Belvedere 21, the installation brings the fictional art space LOCATION from Breeder or Sucker Ep. 1 into a real institutional exhibition. It combines Breeder or Sucker Episode 3, FOMO, as well as the Behind the Scenes footage, accompanied with oversized cardboard sculptures, cement objects and live performance, Gash’s Revenge Plays.
2019–2023
A collection of 17 humorous feminist scripts, poems, stories and song lyrics based on everyday conversations, relationships and encounters. The works combine sincerity and irreverence, repeatedly returning to failure and interpersonal misunderstanding. Portfolio 2026_English
2023
A mock behind-the-scenes documentary following the chaotic production of Episode 3. It blurs the distinction between the fictional world of the series and the actual process of making it.
2022
A full-scale cardboard reconstruction of an artist studio apartment from which I had been evicted, functioning simultaneously as sculpture, stage and screening room. The installation examines failure and the unstable relationship between lived experience and its fictional reconstruction.
2021
An absurd murder mystery set inside a chicken coop, following Little Eddie as she investigates the killing of another hen. Inspired by cases of violence against women, the musical uses humour and absurdity to examine misogyny, institutional power, fear and friendship.
2019
A two-part theatrical performance following CHARLOTTE through situations in which she is ignored, patronised or talked over. The work uses humour to explore gendered everyday behaviour before CHARLOTTE’s alter ego KEVIN finally intervenes.
2019
A scripted performance following art students through exhibition openings, relationships, drugs, art and sex. Using humour and a handmade cardboard-and-plaster set, the work satirises gendered power structures and behaviour within the art world.
2016
Created with my pyrotechnician father, the performance introduced my artist name through a yonic firework display reading “THE BIRTH OF CHARLOTTE GASH, BORN 2016.” It was staged at an all-male rugby tournament, where the initially confused audience eventually began chanting “GASH!”
