11am–6pm
Exhibition
12/09/24 - 09/11/24
Simultaneous Localization and Mapping
Andrzej Steinbach
Simultaneous Localization and Mapping (SLAM) exhibits Andrzej Steinbach’s latest series Extensions (Erweiterungen), aimed at exploring the intricate terrain where technology and representation of the human form intersect. The exhibition title borrows from a core system in robotics, where understanding and mapping the surroundings whilst simultaneously keeping track of its own location is necessary in order to navigate effectively. This concept matches Steinbach’s approach — a continual re-mapping and exploration, compelling us to question how images are constructed, deconstructed, and reimagined today.
Exhibition
18/06/2024 - 26/07/2024
Locally Hated
Tanea Hynes
The departure point of Tanea Hynes’ work is the awareness of the complex socio-political reality of living within the extractive economy. Hynes grew up in Labrador City, Canada, a town that was founded in the 1960s to accommodate employees of the iron ore mine, which remains the primary industry in the town to this day. Hynes’ work reveals the mundaneness, darkness, and difficulty of place. The city’s inhabitants have a complex relationship to the mine, whose presence looms large in the landscape. Her work explores this relationship and the social reality it reflects, including the complicated interconnections between the city, residents, and this industry.
Exhibition
23/04/24 - 11/06/24
and amputate myself from every function
Michael Van den Abeele
Emancipating function from form is a recurring motif in Michael Van den Abeele’s artistic practice. Often, he begins with a material or motif so wedded to its economic value that their separation comes with tricky conditions. The flat iron is tired of working, the jeans take leave from the domain of workwear and turn to ornament. In a single motion, Van den Abeele unlatches the commodity from the throes of its market and ushers it into a new arena where eros, excess, and mythology prevail. Here, the possibility of a given thing renews itself in desire, decadence and a romance for discernible things.
Exhibition
01/03 2024 - 19/04 2024
Fact Structures Amount Structures Language Structures
Liam Gillick
KIN is delighted to present Liam Gillick’s new exhibition: Fact Structures Amount Structures Language Structures, opening on March 1st 2024. For this new body of works, exhibited in three different cities, Gillick rethinks what fundamental forms of advanced production might be, and finds inspiration in Marie and Otto Neurath’s Isotype system – illustrated by Gerd Antz – named Fact Pictures, Amount Pictures, Language Pictures; as well as Yuk Hui’s philosophical writing on techno-diversity.
About
Thibaut Henz
Exhibition
08/12 2023 - 03/02 2024
Intervall
Thibaut Henz
Everything that Thibaut Henz photographs bears witness to physicality or to physical closeness, to a connection to things, society and its physiology. Regardless of whether he photographs the human body, animals, plants, spaces, or objects, Henz approaches his motifs in an exploratory movement — not in a reserved way but instead aggressively, observing the subject close up, in extreme cases, even as far as body orifices.
Rather than fulfilling a representational function, Henz’s photographs, often dyptichs, tryptichs or large scale compositions, illustrate the present as a contingency, reflected in coexisting realities, challenging the viewers to consider their own biases and referential contexts, through fantasised violence.
Exhibition
27/10-2/12 2023
Swarm
Zuza Golińska
Swarm exhibited at KIN continues on the path set by Golińska in her previous works. The sculptures have a strong material presence that result from Golińska’s involvement in producing them within the boundaries of her workshop in the Gdańsk Shipyard. She moves through the metal workshops, scavenging through heaps of scrap metal, selecting, arranging and testing the forms in space. Cooperating with the welders, who used to approach her with disbelief and now are familiar with her presence, she binds and scrapes metal together into sculptures. Or, if the scraps allow it, she bends them into the desired forms. Finally, the rusty metal is partially powder painted in bright colours adding futuristic and painterly dimensions to the final form of the works.
About
Zuza Golińska
Exhibition
07/09-21/10 2023
The Desert Turned to Glass
Charles Stankievech
The Desert Turned to Glass is a meditation oscillating between the cosmic and the chthonic. Traveling through vast distances in space and time from outer space to Paleolithic caves, Stankievech entwins science fiction speculation and contemporary theories on the origin of life, consciousness, and art. A meteorite sculpture floats above a sand floor, a psychedelic video crystallizes deep time. Fog, clouds, and smoke venting from volcanic lava flows spill across the screen. At a moment obsessed with planetary endings, the visual dynamism and resonating sound of air recapitulates not only the invention of the concept of atmosphere in the history of meteorology, but also the formation of the earth’s atmosphere in geologic time—in a word, to creation itself. The Desert Turned to Glass calls forth otherworldly experience from within the depths and heights of this world, at the same time cultivating an aesthetic disposition to receive them.
About
Charles Stankievech
A fieldwork engages with the geographic site but then warps one’s perception of the space comparable to a mathematical “strange attractor.” Sharing, on the one hand, the history of art installation and on the other hand, the history of “site-specific” or earthwork art, a fieldwork creates its own temporary architecture within a space or in a landscape. However, such a landscape need not be natural and the architecture may not always be a traditional shelter or sculpture, but can be composed of sonic material, electromagnetic fields, light fluctuations, or relationships. At its core, a fieldwork is dynamic and geospatial.
Exhibition
16/06-29/07 2023
bratki
Dorota Jurczak
For years, Dorota Jurczak has been creating an immensely analogue body of work devoid of digital characteristics. An output that is defined by a deep appreciation for texture, colour and the qualities of physical material. Combined with a fearless approach to expenses, this results in most immersive and tactile works of art. Jurczak’s understanding and consequent interpretation of crafted history has become the signature of her style, evoking a sense of timelessness and permanence. All executed with a confident scratch and little to no admission of a modern world.
About
Dorota Jurczak