Embracing the spirit of collaboration as a means to expand knowledge and skills, the breadth of techniques and references used across 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 recent solo shows include ‘Filling Station’, The Kitchen, New York (2023),‘Plate is Bed Plate is Sun Plate is Circle Plate is Cycle’, Mennour, Paris (2022), ‘Link Room Project’, Cranford Collection, London (2022), ‘Manikin’, Mendes Wood DM, São Paulo (2022); ‘Window to the Clouds’, Museum Frieder Burda | Salon Berlin, Berlin (2021); ‘Two Hands on Earth’, Mendes Wood DM, Brussels (2019); ‘Sea Spray’, Vleeshal, Middelburg (2018); ‘The Meadow’, Le Centre d’édition Contemporaine, Geneva (2018); ‘Southern Garden of the Château Bellevue’, Consortium Museum, Dijon (2018); ‘Fooding’, Fitzpatrick Gallery, Paris (2018).
His recent performance work includes ‘Filling Station’, Dia: Beacon, New York (2023) ‘Soap Bubbles’ with Jan Vorisek, Art Basel Parcours, Basel (2022), ‘Scalable Skeletal Escalator’ by Isabel Lewis, Kunsthalle Zurich (2020); ‘Screaming Compost’ with Jan Vorisek, Galerie Francesca Pia, Zürich (2019); ‘Sharjah Biennial 14: Leaving the Echo Chamber’ by Isabel Lewis, Sharjah (2019); ‘Rotting Wood, the Dripping Word: Shūji Terayama’s Kegawa no Marii’, MoMA PS1, New York (2016).