Matthew Lutz-Kinoy (1984, New York) lives and works in Paris.
Embracing the spirit of collaboration as a means to expand knowledge and skills, the breadth of techniques and references used across Matthew Lutz-Kinoy’s practice are the result of many collaborative ventures. Where his ceramics are influenced by working with artists in Europe and Brazil, his large-scale paintings often installed like backdrops, tapestries, wall panels or suspended ceilings assert matters of pleasure, color, intimacy, motion, as fundamental. Lutz-Kinoy’s work looks through a history of representation from the rococo to orientalism to abstract expressionism; challenging what constitutes the inside and the outside of the arts, the social and the self.
At the core of Lutz-Kinoy’s practice is performance. Influenced by histories of queer and collaborative practice as well as his background in theatre and choreography, his live work explores the interplay of narratives that are created and constructed between individuals and social spaces.
His most recent solo shows include Filling Station, The Kitchen, New York and Dia, Beacon, (upcoming 2023), Plate is Bed Plate is Sun Plate is Circle Plate is Cycle, Mennour, Paris (2022), Link Room Project, Cranford Collection, London (2022), Soap Bubbles, Art Basel Parcours, Basel (2022), Manikin, Mendes Wood DM, São Paulo (2022); Grand Entrance, Mendes Wood DM at Villa Era, Vigliano Biellese (2021); Window to the Clouds, Museum Frieder Burda | Salon Berlin, Berlin (2021); Two Hands on Earth, Mendes Wood DM, Brussels (2019); Hudson Bathers, Mendes Wood DM, New York, USA (2019); Sea Spray, Vleeshal, Middelburg (2018); The Meadow, Le Centre d’édition Contemporaine, Geneva (2018); Southern Garden of the Château Bellevue, Le Consortium, Dijon (2018); Fooding, Fitzpatrick Gallery, Paris (2018).
Additionally, Lutz-Kinoy’s work has also been featured in recent group shows such as The Flames – The Age of Ceramic, Musée d’Art Moderne de Paris, Paris (2021); Geneva Sculpture Biennial, Geneva (2020); Sharjah Biennial 14: Leaving the Echo Chamber with Isabel Lewis, Sharjah (2019); Eckhaus Latta: Possessed, Whitney Museum of American Art, New York (2018); Welt ohne Außen. Immersive Spaces since the 1960s, Berliner Festspiele, Berlin (2018).
His work can be found in the collections of the FRAC Aquitaine, S.M.A.K. Gent, the ADN Collection, Bolzano, Rennie Museum, Vancouver, Aishti Foundation, Beirut and the Syz Collection, Geneva.
Photo credit: Lee Mary Manning
