Matthew Lutz-Kinoy

BIOGRAFIA

Biography

Matthew Lutz-Kinoy (USA) is an artist whose works pay homage to the histories, traditions and techniques of representation all the while exploring identity, gender, visibility and pleasure. He works across various mediums including sculpture, printmaking, ceramics and painting, meaning his allegiance is not fixed to a single medium but depends on their shared developments in form and simultaneity in practice. Matthew’s body of work reveals an unprecedented wealth of ideas: from performances inspired by histories of queer and collaborative practice to ceramic work influenced by working in Europe and Brazil, as well as, largescale paintings that unearth his fascination with the refined, sophisticated and carnal painting style of the 18th century. Matthew Lutz-Kinoy lives and works in Paris.

During his residency at the Instituto Inclusartiz in Rio de Janeiro, Matthew began researching and executing a series of works which are inspired by the botany in Rio de Janeiro; all within his usual practice of drawing and painting from observation. He is to continue to produce a series of large-format paintings that are meant to be seen through a lease of self-awareness borrowed from ideas from the sociologist Erving Goffman. Matthew believes that “if we see physical spaces as manifestations of an externalized ego, (…) to the degree that the individual maintains a show before others that he does not believe, he can come to experience a special kind of alienation from self and a special kind of wariness of others”.

Matthew Lutz-Kinoy’s recent solo shows include Hudson Bathers, Mendes Wood DM, New York, USA (2019); Sea Spray, Vleeshal, Middelburg, The Netherlands (2018); The Meadow, Le Centre d’édition Contemporaine, Geneva, Switzerland (2018); Southern Garden of the Château Bellevue, Le Consortium, Dijon, France (2018); Song And Love, Matthew Lutz-Kinoy & Ola Vasiljeva, Indipendenza, Rome, Italy (2018). His work has also been featured in various group shows, such as Eckhaus Latta: Possessed, Whitney Museum of American Art, New York (2018); Welt ohne Außen. Immersive Spaces since the 1960s, Berliner Festspiele, Berlin (2018); Seasick in Paradise, Depart Foundation, Los Angeles (2017); Neither., Mendes Wood DM, Brussels (2017); among several others.

Mais Informações

Matthew Lutz-Kinoy
1984 in New York, USA
Lives and works in Paris, France


Education

Rijksakademie, Amsterdam
BFA Cooper Union School of Art, New York, USA
Berlin University of the Arts, Berlin, Germany


Solo Shows

2019 Two Hands on Earth, Mendes Wood DM, Brussels, Belgium
Screaming Compost, Francesca Pia, Zürich, Switzerland
Hudson Bathers, Mendes Wood DM, New York, USA
2018 Sea Spray, Vleeshal, Middelburg, Netherlands
The Meadow, Centre d’édition Contemporaine, Geneve, Switzerland
Bowles, Galerie Kamel Mennour, Paris, France
Fooding, Freedman Fitzpatrick, Paris, France
Southern Garden of the Château Bellevue, Le Consortium, Dijon, France
Song and Love, Matthew Lutz-Kinoy & Ola Vasiljeva, Indipendenza, Rome, Italy
2017 Fire Sale, Mendes Wood DM, São Paulo, Brazil
2016 Rotten Wood, the Dripping Word: Shuji Terayama‘s Kegawa no Mari (with Tobias Madison),
MoMA PS1, New York, USA
To Satisfy the Rose, Freedman Fitzpatrick, Los Angeles, USA
2015 Princess Pompom in The Villa of Falling Flowers, Mendes Wood DM, São Paulo, Brazil
2014 Crystal Mist, Pro Choice, Paris, France
Port, Freedman Fitzpatrick, Los Angeles, USA
2013 Lutz-Kinoy’s Loose Bodies, Elaine – Museum für Gegenwart Kunst, Basel, Switzerland
Matthew’s Secret, Galerie van Gelder, Amsterdam, The Netherlands
Werk is Free / Be Free! May Day, Outpost, Norwich, United Kingdom
Keramikos, Kunsthalle Baden-Baden, Germany
2012 Keramikos, Elaine – Museum für Gegenwarts Kunst, Basel, Switzerland
Every Reform Movement Has a Lunatic Fringe with Martijn Hendriks, W139, Amsterdam,
The Netherlands
2011 Say It With Flowers, Deweer, Otegem, Belgium
New Season, Silberkuppe, Berlin, Germany
2010 Warped Passage, Galerie Yukiko Kawase, Paris, France

Group Shows

2019 Été Indien, Kamel Mennour, Paris, France
Les Chemins, du, Sud, une théorie du mineur, Musée régional d’art Contemporain, Sérigan,
France
“Il est une fois dans l’Ouest”, FRAC Nouvelle-Aquitaine, Bordeaux, France
Mingei Now curated by Nicolas Trembley, Sokoyo, Kyoto, Japan
Sharjah Biennial 14: Leaving the Echo Chamber with Isabel Lewis, Sharjah, United Arab
Emirates
2018 The Weather Outside, Freedman Fitzpatrick, Paris, France
Masks, Kamel Mennour, Paris, France
Eckhaus Latta: Possessed, Whitney Museum of American Art, New York, USA
The Performance Agency, Mass X (The Unfolding), Supportico Lopez, Berlin, Germany
Welt ohne Außen. Immersive Spaces since the 1960s with Isabel Lewis, Berliner Festspiele,
Berlin, Germany
Nothing Will be As Before, Tanya Leighton, Berlin, Germany
2017 A Terceira Mão, Fortes D’Aloia & Gabriel, São Paulo, Brazil
La nuit juste avant les fôrets, Doc!, Paris, France
Seasick in Paradise, Depart Foundation, Los Angeles, USA
Waiting for the Sun, Spazioa, Pistoia, Italy
Der Verdienst. 2014-2017, Oracle, Berlin, Germany
Imaginary Ancestors, Almine Rech, New York, USA
Neither., Mendes Wood DM, Brussels, Belgium
2016 The Discovery of a Leak in the Roof of Marcel Breuer’s Wellfleet Summer Cottage on the
Morning of September 16, 1984, Off Vendome, New York, USA
e Mérite 2014-2016, Treize, Paris, France
2015 The Ultimate Vessel, Koppe Astner, Glasgow, Scotland, United Kingdom
G.I.F.T., Der TANK, Basel, Switzerland
Theater der Überforderung with Tobias Madison directed by Barbara Weber, Kunsthalle
Zurich, Zurich, Switzerland
Kälen with Magni Borgehed and Natsuko Uchino, Last Resort, Copenhagen, Denmark
2014 A paz entre os animals, Boatos Fine Arts, São Paulo, Brazil
The Word Today Serves No One Except To Say To The Grocer Give Me A Pound Of
Lentils, Supportico Lopez, Berlin, Germany
Trust (Vita Vel Regula), Fluxia, Milan, Italy
Prisma Pavillion curated by Gerry Bibby, Künstlerhaus Bethanien, Berlin, Germany
I love you Me either, Project Native Informant, London, United Kingdom
2013 The November Issue, Mathew, Berlin, Germany
The tolerant home, Siebe Tettero, Amsterdam, The Netherlands
AB, Nomas Foundation, Rome, Italy
Unstable Media, Martin van Zomeren, Amsterdam, The Netherlands
Hi from California, Freedman Fitzpatrick, Los Angeles, USA
every serious man…, Juliette Jongma, Amsterdam, The Netherlands
Beyond Imagination, Stedelijk Museum, Amsterdam, The Netherlands
2012 Foreign Figs for Florence, Dingum at Villa Romana, Florence, Italy
2010 Ins Blickfeld gerückt, Institut Français, Berlin, Germany
Brucennial 10, Bruce High Quality Foundation, New York, USA
2009 Room Without Wall, curated by Silberkuppe, Hayward Gallery Project Space, London,
United Kingdom
Exstatic Resistance, curated by Emily Roysdon, X initiative, New York; Grand Arts, Kansas
City, USA
Silberkuppe in KUR, Staatliche Kunsthalle Baden-Baden, Germany
Psychometry, Exile, Berlin, Germany
State of the Art, NY, Urbis, Manchester, United Kingdom
2008 Brucennial 08, Bruce High Quality Foundation, New York, USA
Soul Stripper, Project Midi, Brussels, Belgium
American Installation, Plaine Project, Chicago, USA
2007 Darling! What color, Thrust Projects, New York, USA
Art guitar and two teaspoons, Bischoff/Weiss, London, United Kingdom
2006 The Invention of Solitude, curated Charles Danby, The Nunnery Gallery, London, United
Kingdom
Casper with DL Alvarez, Arratiabeer Gallery, Berlin, Germany

Selected Screenings

2012 AYE dunkelblau – part two, Kunsterhaus Stuttgart, Stuttgart, Germany
2010 The Sense Ritual, MIX Film Festival, New York, USA
Goshogaoka & Matthew Lutz-Kinoy: selected videos, White Chapel Gallery, London, United
Kingdom
2009 Nostalgia…, Light Industy, New York, USA
Kino, Koelnischer Kunstverein, Cologne, Germany
PERSPECTACLE 5.1, New Museum, New York, USA
2008 PERSPECTACLE, MIX Film Festival, New York, USA

Awards

2014 Premio Emergent, mi art, Milan
2011 Foundation for Contemporary Art
2010 Teva Europe
2004 Flahrety Film Seminars Grant Recipient

Lutz-Kinoy, Proposal for Rio – March 2020

In Rio I will be researching and executing a series of works which are inspired by the plant life in Rio de Janeiro. At Frances's house, I will maintain my practice of drawing and painting from observation. I am to produce large format paintings which serves as environments and potentially as backdrops or as room dressings.

These large format works seen through a lease of self awareness borrow from ideas from the sociologist Erving Goffman. If we see physical spaces as anifestations of an externalized ego, “And to the degree that the individual maintains a show before others that he himself does not believe, he can come to experience a special kind of alienation from self and a special kind of wariness of others.” And through such a representation we begin to form empathy, one of the pillars of affect in the theatrical realm, which allows us to see a clearer world.