What are we in now???
Angharad Williams

Muzzle Velocity refers to the speed at which a projectile or bullet exits the barrel of a firearm or artillery. Sixty-five rounds per second is currently the fastest rate for a traditional firearm. It’s also the title of the 9-minute, 40-second 4K video featured in this exhibition. In the video, I (Angharad), along with three friends, silently fly over Brooklyn in a helicopter, heading toward a landing pad in Manhattan’s Murray Hill. In 2023 I paid for us to take a helicopter for the first time. The Blade shuttle service is accessible to anyone with some disposable money. You buy the Blade, you buy time. The footage loops: we arrive, then immediately depart. It’s almost impossible to take in New York (America) all at once.

Scarecrows It started with setting fires, fingers still in growth. Perfecting the paper crumble so that air can pass through, catching kindling to generate sufficient heat to engulf the coal. Anthracite is a talisman in Wales. Later, the competition between us siblings is proposed when we learn to light a fire with a single match. Speed is an essential component here, too. These fireplaces from my childhood and imagination are here translated into white foam core, adhered with silicone; developed in various scales from 2017 until now. One of the things I find interesting about fireplaces is that they belong to everyone – especially to Storytellers. And I like that Storytellers understand implicitly that the full tale can never be told.

Myself as Tinky Winky as Iggy Pop When Iggy appeared on the front cover of his record Lust for Life, he had just that. A lust for life. Just got clean. Sleep out of his eyes. The world was pretty different then. It wasn’t difficult for me to imagine the most wonderful picture: that of Tinky Winky behind the scenes, framed just like Iggy Pop, forever. I think this might also be called getting better at life – being a better pacifist.

The Sardine Syndrome. Kids – they’re gonna get their own back. Magic. The internet is not the only thing that connects people.

What are we in now??? Part one (suffixed with ?) and part two (suffixed with ??) were group exhibitions curated and organised in recent years by The Wig, an ongoing collaboration between myself, Richard Sides, and Gianmaria Andreetta. We used the title to consider our collective moment in art historical terms, and more urgently as a way of understanding how performance seeps into both life and art in changing times. We were interested in how contingency becomes part of the work; how it shapes the materials we use and the energy we draw on.

Angharad Williams, 2025

Installation view, Angharad Williams: What are we in now???

Myself as Tinky Winky as Iggy Pop, 2025, Charcoal and soft pastel on paper, 167 x 125 cm

McLaren Spider: the teardrop, 2025, Charcoal on paper,113 x 153 cm

The Sardine Syndrome, 2025, Charcoal on paper, 167 x 125 cm

Magic, 2025, Charcoal on paper, 167 x 125 cm

Untitled, 2025, Soft pastel on paper, 167 x 125 cm

Muzzle Velocity, 2025, 4K video, 9.40 min

Scarecrows (Liszt) III, 2017, Foamcore, silicone, 108 x 140 x 20 cm

Scarecrows VI, 2025, Foamcore, silicone, 70 x 80 x 20 cm

Scarecrows II, 2017, Foamcore, silicone, 58 x 44 x 36 cm

Scarecrows (Gate) IV, 2017, Foamcore, silicone, 92 x 105 x 16 cm

Scarecrows (Rhianfa) V, 2025, Foamcore, silicone, 83 x 140 x 19 cm

Scarecrows VIII, 2025, Foamcore, silicone, 140 x 100 x 20 cm

Angharad Williams (b. Ynys Cybi, Wales) is an artist, writer, and performer who is concerned with the role of poetry in our increasingly militarised society.

Recent solo exhibitions and performances took place at Haus am Waldsee, Berlin (2025); SIMIAN, Copenhagen (2025); Schiefe Zähne, Berlin (2024); Fanta, Milan (2023); Kunstverein Düsseldorf, Düsseldorf (2022); Mostyn, Llandudno (2022) and Kevin Space, Vienna (2021). Angharad’s first book Eraser was published by After8 Books, Paris in 2023. Summer 2025 Williams will release a limited 12” vinyl with Concentric Group, London & the Bauhaus Foundation, Dessau. Angharad is a teacher at the Masters Fine Art at Zürcher Hochschule der Künste, Zürich.

Urlaub: Luca Lo Pinto

Evoking a wonderful title by Isa Genzken, the next 1 Day Project: Urlaub will be a free conversation between Luca Lo Pinto and Nicolaus Schafhausen about exhibition making, working with artists, museums, galleries, free will, dogs and aesthetic pleasure on March 15, 2025 at 7 pm.

Years
Richard Sides

In Years, Richard Sides makes use of the notion of technics popularised in 1994 by Bernard Stiegler. In Stiegler’s view, the technical object is made in-between nature and human intention. It exists as an access point to a temporality that dissolves the distinction between subject and object, between the human and the technical. It is through this logic that Sides arrives at images of cave drawings, quantum computers, and extraterrestrial life. These are connected as the necessary tools needed to operate back and forth across time – not so much in body but in mind. The paintings, on the other hand, develop through a process of accumulating past compositions and previous artworks, and eventually overpainting them with layers of a monochromatic colour.

Conversation: Angharad Williams

On the occasion of the group exhibition 𝘬𝘪𝘯𝘴𝘩𝘪𝘱, we hosted a conversation with Angharad Williams on Saturday, December 14 at 7 pm. The artist was in conversation with Micaela Dixon. Williams is an interdisciplinary artist based in Berlin working across sculpture, painting, installation, performance and writing. Her practice explores themes of authority, speech, and class while engaging with the boundaries between the human and the non-human.

kinship

kinship brings together the diverse works of 30 artists under the leitmotif of the gallery’s founding principle. Through a variety of media, the exhibition delves into kinship as a fluid, contingent structure that reframes social bonds and offers nuanced reflection on affiliation in contemporary society. The exhibition is a tribute to friendship and connection made manifest across our work and our relations. This question of connection, of how we find, make, and remake our relations with others, is explored across a variety of mediums that touch on far-ranging themes, from the generation of empathy to the origins of intimacy and theorizations on the beginning of time. Sometimes this emerges through domestic motifs or in the adaptation of spatial registers that belong to the urban landscape.

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.

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.

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.

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.

Deep Listening Richard Sides

KIN’s fourth 1 Day Project presented a situation by Richard Sides on February 16, 2024 from 6 pm.

Deep Listening is a situation that engages with the architecture of KIN by activating the gallery’s interior walls as a loudspeaker. Transducers are installed on the outside of the walls turning them into a conduit; a resonant body that hosts an extended multichannel sound-work. The source audio materials are edited from an archive generated by the artist over the past 20 years. Inside, a grid is constructed of tensioned string with an accompanying wall text.

I never work with a zoom, I work with a fixed focal length and I never crop my pictures. I usually know how the image will be even before I take the picture. My eyes and feelings take the pictures, not the camera ( I know the camera by heart and can use it blindly yet I have no idea how to use other devices). The pictures are created just like that, and when it's close to the subject, it means that I am close. Why the extreme close-up view? Because over time I was no longer interested in having the context around the subject. This way, I can combine new, somewhat more abstract, also subjective context for images that are otherwise contextless. I found that it was more complicated to create clear compositions when you could see the surrounding. I find it exciting to make abstract pictures from 'real' motifs. Portraits are different and are more difficult. By defintion they are not abstract, but sometimes you have to make a head to find out what it should be.

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.

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.

In my practice,I outline the seemingly binary relationship between modernism and contemporary romanticism, between discipline and magical thinking. I explore the impact of space and architecture at the human level. I analyse the relationship between an organised structure and the body. The public sphere and the private sphere. Through my projects, I try to build new and less hierarchical relationships, between people and their environment.

Film Screening: Yalda Afsah, CURRO (2023)

For our next 1 Day Project, KIN will present CURRO, by Yalda Afsah, on the 23rd of October, at 6pm.
The 32mins film explores the ritualized taming of wild horses according to the Galician custom Rapas das Bestas, questioning the social construction of masculinity, dependence and alienation from nature through the act of “taming” in interspecies relationships.

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.

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.

Reading & Screening: Michael Van den Abeele, Jeans & Pasta

KIN’s second 1 Day Project will present a new live reading & video screening by Michael Van den Abeele, Pasta, alongside a selection of works from the ongoing Jeans/Denim series.

Pasta -currently a working title -is a religious comedy. I’m writing it as a monologue in which the ‘Who will come’, and the ‘What’s for’ dinner can get confused, and the topics on the table are Payment in Psychoanalysis, Inflation of Soul, closet-Calvinism and Cupids, among other issues.

John C. Welchman’s Royal Book Lodge

KIN and HISK are delighted to be co-hosting a book launch on September 20th at 6 pm of John C. Welchman’s Royal Book Lodge published by Hatje Cantz. Welchman will present on the art, actions, exhibitions and books of the para-collaborative Royal Book Lodge. John C. Welchman, author of Royal Book Lodge (Hatje Cantz, 2023), introduces the history and achievements of this nimble and richly innovative international network of artists formed in the late 1980s in Berlin, Paris and Marseille, spearheaded by Juli Susin and Véronique Bourgoin.

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.

What are we in now??? Angharad Williams

What are we in now???
Angharad Williams