Introduction

Matthew Lutz-Kinoy's working method is collaborative and interdisciplinary. His projects are radically expressive and personal, and despite their enormous vitality they also thoroughly investigate the moments in the recent Western tradition when this attitude was considered possible as an artistic approach. They are expressed through various media, including dance, sculptural installation, graphics, publications, video and painting.
Lutz-Kinoy explained in an unpublished discussion from 2011: "In the '80s - at least in New York - expressionism in the visual arts was not considered a 'high' style (...). This brought about some kind of collapse of authenticity in art and led to a lack of personality and vision (...). As a child of the 80s, I return to this point in my work. My interest goes to the return of an expressive authenticity. It is some kind of action, in dance/performance, that is based on the heritage of this collapse of the expressive. Admitting that you produce something with affect and allowing yourself as a performer to give into your own relationship with these symbols. To approach affect from a personal position."

Matthew Lutz-Kinoy’s first solo exhibitions take place at Galerie Yukiko Kawase, Paris (2005-2010). The solo show ‘Say it with flowers’(2011) at Deweer Gallery is his first exhibition in Belgium. Still in 2011 the artist exhibits with Silberkuppe, Berlin. In 2012 Lutz-Kinoy presents the performance-exhibition ‘Keramikos 2 – The Traveling Dinner Party’ at Elaine’s @ Museum für Gegenwartskunst, Basel, Switzerland. That same year he also exhibits together with Martijn Hendriks at W139, Amsterdam. In 2013 he is solo at Outpost Studios, Norwich, England, UK.
Screenings of films by Matthew Lutz-Kinoy are on view at Whitechapel, London (2010), Kölnischer Kunstverein, Cologne and New Museum, New York (2009). His most recent dance performance is "Donna Haraway's Expanded Benefits Package" (with SOPHIE and Chelsea Culp), which performs on September 16, 2011, at the New Museum Theater in New York. In September 2012, Lutz-Kinoy participates at the group show "Beyond Imagination" at the Stedelijk Museum, Amsterdam. In 2013 Deweer Gallery schedules his second solo-exhibition ‘Meadows on the grid float and a playlist, a collaboration with Dena Yago’.

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“Crucial for Matthew Lutz-Kinoy’s approach to contemporary options in performance are the definition of space through the introduction and translation of daily activities. Repetition in form and choreography develop a stage as a social and historical space through use of practices applied, for example, by the choreographers and dancers around Judson Memorial Church in New York City or by Allen Ginsberg in his lecture performances. The experience of space and the shifting role of sculptures, props or bodies through moving and changing perspective approves the physicality of the individual entities.”

-Maja Wismer, Curator of The Performance Project Liste, Basel 2011.

“In a word, Lutz-Kinoy’s practice is generative. A fluid set of concerns - symbolic, political and formal - flow together, occasionally solidifying into wild retinue of forms; plexi-glass sculpture, mono-type prints, declarative artist-books and high-heeled out-sized performance-paintings among them. Fragments from these processes are recycled across media into other works, feeding or framing new points of departure. No part proposes an end-point unto itself, such as in the case of a canvas exhibited earlier this year at Siberkuppe gallery in Berlin. The buoyantly colourful painting stretched through the two rooms of gallery, expanding the picture plane to hug architectural form. At this scale the painting slid into a new mode, not enclosing an image but pushing forward into the shared space of the gallery, forming a theatre back-drop to the ad-hoc gatherings infront of it. Held in April and titled ‘New Season’, the work narrated Spring 2011 through the language of bright washes of colour. A mid-sized fragment of the canvas sat aside, having been removed to make-way for the painting to pass through a door from one room to the next. This threshold-segment is, like so many pieces in Lutz-Kinoy’s practice, not an autonomous object but rather a fragment of a loosely-held whole gone out for a vacation, destined for different adventures in life.”

- excert of text by Vivian Ziherl, published in Metropolis M magazine in 2012