Kunstraum exhibitions

I Like My Job Five

SOMA (Plus TRBE Recordings)
21 - 27 September, 2020

Binnie Sisters: The Muddy Clearing
Reopening July 3 - August 1

Julie Béna: The Jester & Death
January 10 - February 15

Dangerous Bodies: Barbara Kapusta
12 October - 16 November
(PV 11 October 6:30 – 9pm)

To Ailsa Rock
Beatrice Loft Schulz and Lindsay McMillan
14 June – 28 July

Something soft: Julie Béna, Susie Green, Deniz Ünal & Zoe Williams
13 April – 25 May (PV 12 April, 6.30–9pm)

Nils Alix-Tabeling
Le Bétyle d’Ail
19 January – 22 February 2019

Anna Hulačová
Graceful ride
29 Sept – 24 Nov 2018

Shelly Nadashi
The Avocado Vampire
26 April – 9 June 2018

Mary Hurrell
2 (Aerial)
9 March – 14 April 2018

Von Calhau!
12 January - 10 February 2018

Merike Estna
fragments from the shattered toe
29 September – 25 November 2017

Jennifer Tee
Structures of Recollection and Perseverance
1 July – 9 September 2017

Sophie Jung
Producing My Credentials
14 April – 27 May 2017

Olivier Castel
Communicating vessels
25 November 2016 - 11 February 2017

9 September – 5 November 2016

Jumana Emil Abboud
Haunted Springs and Water Demons in Palestine
14 May – 30 July 2016

Dorine van Meel
Disobedient Children
23 October – 19 December 2015

New Pabulum
Aline Bouvy and Simon Davenport
6 September - 10 October 2015

Alex Cecchetti
The printing house of hell
27 June - 22 August 2015

Barbara Visser
Manual/2: The Patient Artist
25 April – 13 June 2015

Unlearning to speak
Tyler Coburn, Luca Frei, Joachim Koester, Jacopo Miliani
28 February - 11 April 2015

Nicoline van Harskamp
25 October - 13 December 2014

Zin Taylor
The Tangental Zigzag
14 June – 26 July 2014

Eva Fàbregas & Andrew Lacon
Curated by Thomas Cuckle and Mette Kjærgaard Præst
26 April – 31 May 2014

Flirting, playing, eating, drinking, talking, laughing
with Søren Aagaard, Magnus Clausen, Robert Kjær Clausen, Simon Foxall, Steffen Jørgensen, Peter Larsen, Jørgen Michaelsen, Allan Nicolaisen, Carl Palm, Fredrik Paulsen, Anna Margrethe Pedersen, Merete Vyff Slyngborg and Ditte Boen Soria
Curated by Mette Kjærgaard Præst and Mette Woller
22 February – 5 April 2014

An Opal World
Rossella Biscotti, Priscila Fernandes, Jan Peter Hammer, Alberto De Michele
25 October — 30 November 2013

Late Nights & Early Mornings
Willem Besselink, Jacob Dahlgren, Edward Clydesdale Thomson, Florian & Michael Quistrebert, Relief Journal
21 June — 29 September 2013

Miles Thurlow
Variable Foot
20 April — 1 June 2013

Peter Wächtler
Celtic Dawn
22 February — 6 April 2013

Definitional Disruptions
with Nel Aerts, Filip Gilissen and Hedwig Houben
1 December 2012 — 2 February 2013

Jason Coburn
x ways to improve your y
28 September — 17 November 2012

View all


Zin Taylor
The Tangental Zigzag
14 June – 26 July 2014

The Tangental Zigzag at Kunstraum, London is the first solo-show in the UK of Brussels-based Canadian artist Zin Taylor. In a new series of works on paper Taylor’s thick marker zigzag lines are cut with drawings, photographs from the artist’s archive, and shapes cut from rolls of cured snake skin; a group of lamps occupy the exhibition space, their twisting forms borrowed from the coiled movement of snakes; and Taylor re-conceives Kunstraum’s front desk in plywood and paint as articulated zones of work and hospitality. 

Zin Taylor: The Tangental Zigzag is the first part of Morphologies, a season of exhibitions and events themed around the artistic imagination of the foundations of language – in reference to spoken, written and visual language. Morphologies is supported using public funding by the National Lottery through Arts Council England.

Taylor sees written language as a visual form – the horizontal movement of words to produce narrative and the vertical gestures to form the letters. Taylor’s title for the show touches on the visual relationship between the movement of a snake and the letter ‘s’, which when strung together is used to represent the snake’s hiss. The zigzag – like the snake – progresses forwards through narrative space but only by a series of tangental bounds not quite directed towards its final destination. 

Taylor’s works often function as thoughts or proposals, for instance speculating on the organic origin of a form (perhaps stripes and dots emerged from the earth like different species?), or trying out all the possibilities of a given object (how many forms could represent a knife, spectacles, a hand?). Each of the ‘gangs’ in The Tangental Zigzag is a proposition on an unspoken subject. Interrupting their patterned surfaces are groups of photographic images – a face which is all beard (held tightly in with a woollen hat) with only a nose pocking out; an image of a wooden zigzag which terminates in a single plastic ear. Shapes are cut out of the backing and rotated, pieces of cured snake skin are cut and pasted on the surface. 

In Taylor’s works, abstract ideas take on formal qualities, an overgrown path is re-trod between object and concept. In Taylor’s ongoing project ‘The Story of Stripes and Dots’, the point and the line become stand- ins for human interactions or conceptual thought: the dot could be proposed as a point in a conversation, with the stripe as it’s narrative. The zigzag here takes on a similar status, columns of tangental movements form the narrative ground on which a series of moments of thought begin to crystallise. 

Just as Taylor gives form to abstract notions, he also seeks to give voice to forms. He appears to operates as a figure in the background – directing objects, forms and words as though they have their own agency. The snake is imagined through the line which its body draws and the visualisation of its hiss moving through sound space. Similarly in The Tangental Zigzag a series of lamps take on the form of snakes, or perhaps snakes take on the form of lamps. In turn the lamps look like letters, rearing and with tongues of light, but straight backed and clearly articulated. 


Courtesy Zin Taylor; Supportico Lopez, Berlin; and Jessica Bradley Gallery, Toronto. Photography by Sam Drake.