“As part of his newly conceived installation at the Kunstverein Kevin Space, I wear my wounds on my tongue, Lakhrissi accounts for and invites contingency and mutuality, drawing the contours of his proposition in relation to the communities it aims to speak to. Taking cue from Chin’s reluctant, yet plucky, (corporeal) titillation with, and (psychic) capitulation to, the tongue, the artist produced five resin sculptures, each a different color, that embody the shape of, and borrow texture from, the ill-famed digestive organ, which Lakhrissi likened, in a conversation we had over WhatsApp, to jellyfish, those gooey oceanic species that brush against you and release painful stingers when they care and desire, as any loving stranger with a Mars in Scorpio would. These sculptures, when hung around the exhibition space, conjure indeterminacy. When looked at from a given angle, they may be brushed off as props used to convey alien form in a low-budget science-fiction film; but when approached from an elsewhere, or even an otherwise, they can appear as weapons—sharp, imposing, and lethal as weapons are meant to be and present themselves as—ready to be toyed with, utilized, made love to, or feared. The sculptures are reminiscent of, and perhaps thought of as a continuation to, similar installations by Lakhrissi, Perfume of Traitors (2020) and Unfinished Sentence II (2019), presented respectively at VITRINE in London, CRAC Alsace, and the Palais de Tokyo, consisting in distorted metal blades and spears that point, ever so threateningly, towards audiences but are manufactured so as to be rendered harmless.” (extract from a text written by Edwin Nasr)