Angharad Williams
Berlin Straße
Opening – 26 APR 2024, 6-9 pm
Berlin Straße, Angharad Williams’ second exhibition at Schiefe Zähne, explores the urban and social fabric in her chosen home of Berlin. Recognizing the street as a place of communal organization outside of established structures, Williams tunes into the vibrant pulse that unfolds on her daily commute between home and studio.
I take public transport and really enjoy walking, but I am not so keen on riding the bike. I cannot drive but I’m an excellent passenger! I would love to learn, though — to take myself somewhere and just be there! Alone. It must feel amazing.
Angharad Williams (Mousse Magazine: Angharad Williams in conversation with Maurizio Cattelan, 2022)
Berlin, a city still marked by its Cold War division, seems for many to hold promise and prospect. As its vast unclaimed spaces are becoming increasingly enclosed, what was long neglected is now fiercely fought over between global money and local resistance. Williams traces the forms of subaltern social organization that emerge on the ground in the city, like the collection of Pfandflaschen (deposited, reusable bottles) as a form of para-economical income.
There is an immanence of power dynamics and violence in any interpersonal interaction, a latent quality that Angharad Williams praises and absorbs in her narratives. Ultimately, one of the questions that Williams is posing may be, Who cracks the whip?
Gabriela Acha (Mousse Magazine, 2021)
Taking advantage of the domestic setting of the gallery which is located on the second floor of a typical Berliner Altbau, Williams divides the space into interior and exterior spheres. This spatial intervention mirrors Berlin’s inherent dialectic, oscillating between public and intimate, collectivity and isolation, or even the paradox that unfolds in the uncharted openness of the city; what for some means utopian, creative freedom is for others a harsh reality of the daily grind. In new sculptural works, painting and photography, Williams captures the poignancy of dreams and fantasy amidst the detritus of everyday life, making candid propositions of alternative forms of exchange, leveraged from imagination, poetics and speculative fabulation, beyond established governing institutions.
Stylistically untethered, many of Williams’ works have a performative or manipulative quality, that pervades through a multitude of media and bridges her practice as a performer.
Kathrin Bentele (Artforum, 2020)