{{sindex}}/{{bigImglist.length}}

画廊展出｜马修 · 鲁兹-克诺伊从陶艺传统中延伸的色彩与形式的循环

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

画廊展出｜马修 · 鲁兹-克诺伊从陶艺传统中延伸的色彩与形式的循环崇真艺客

马修 · 鲁兹-克诺伊个展现场，卡迈勒 · 梅隆赫画廊，巴黎，2022
© Matthew Lutz-Kinoy
Photo. Archives kamel mennour
Courtesy the artist and kamel mennour, Paris

卡迈勒 · 梅隆赫画廊
马修 · 鲁兹-克诺伊
圆盘是基底
圆盘是太阳
圆盘是圈
圆盘是循环
2022.10.17-12.3
地址：6 rue du Pont de Lodi, Paris 6

马修 · 鲁兹-克诺伊在画廊的第二次展览是从伯纳德 · 利奇的世界中汲取的灵感。利奇是英国著名的陶艺大师，也因与日本“国宝级”陶艺家滨田庄司的友谊而闻名。鲁兹-克诺伊采用了圆盘这一最悠久、最普遍和最日常的形式，并将其与利奇的抽象和具象图案相结合，以探索所有生命都需依循的循环和重复。这些画面中除了鲁兹-克诺伊经常会表现的动物及植物，还有罗马数字，像在钟表盘面上一样排列——这属于英国陶艺制作中常用的泥釉陶（slipware）传统，利奇的风格源于此。这些浑圆的图案，在流动的画布上延伸，也出现在金属桌面覆盖的陶砖上。而陶砖的方形画面又在旁边的另一组画作中得到进一步拓展。随后同类图案出现在另一组受日本大津绘版画传统启发的画作中，直至所有图案都汇集到了挂在墙上的80个圆盘上。两块巨大的画布覆盖了天花板，光线穿透而过，将展厅空间笼罩在一种家庭氛围中，这也是展览的一个核心维度。家是一个见证出生、死亡和不断重复的日常的地方，在这里代表了生命的循环。圆盘的形状所象征的，是生命的永恒回归，没有开始也没有结束。

马修 · 鲁兹-克诺伊个展现场，卡迈勒 · 梅隆赫画廊，巴黎，2022
© Matthew Lutz-Kinoy
Photo. Archives kamel mennour
Courtesy the artist and kamel mennour, Paris

马修 · 鲁兹-克诺伊 / 《跳鱼图案》，2022 / 纸上水彩和铅笔画 / 33.5 x 25cm
© Matthew Lutz-Kinoy
Photo. Archives kamel mennour
Courtesy the artist and kamel mennour, Paris

鲁兹-克诺伊的创作植根于行为，并延续了动作的流动性、集体合作和身体介入等特质。他对绘画和陶艺均运用自如，以此来创造一种空间氛围，邀人驻足而不仅仅是观看。他的作品促使我们偏离过去习惯的当代艺术表达。要进入他的创作需要我们放下对英雄式的姿态、力量以及自主性的预期，并学会接纳柔软、快乐和愉悦的概念。艺术家完全颠覆了我们的视角。他刻意地使用被认为是次要或不够强力的形式及工具，使艺术角色的改变成为可能。

陶艺结合审美与实用，使得形式与观念得以在不同文化间和平地流传。马修 · 鲁兹-克诺伊在向两位陶艺大师之间的友谊致敬的同时，展现了陶艺在两种距离遥远的文化之间的对话。其创作所带来的抚慰效果，在对抗性占主流的今天显得尤为真实恰当。

—安妮 · 彭特尼，策展人

马修 · 鲁兹-克诺伊个展现场，卡迈勒 · 梅隆赫画廊，巴黎，2022
© Matthew Lutz-Kinoy
Photo. Archives kamel mennour
Courtesy the artist and kamel mennour, Paris

马修 · 鲁兹-克诺伊 / 《搜索信息者》，2022 / 丙烯颜料，墨水，炭笔，纸 / 246 x 164cm
© Matthew Lutz-Kinoy
Photo. Archives kamel mennour
Courtesy the artist and kamel mennour, Paris

关于艺术家

马修 · 鲁兹-克诺伊
© Matthew Lutz-Kinoy
Photo. Archives kamel mennour
Courtesy the artist and kamel mennour, Paris

‍‍马修 · 鲁兹-克诺伊1984年生于纽约，现在巴黎生活和工作。

他近年的个展包括“肥皂泡”，巴塞尔艺术展城艺之旅单元（2022）；“云之窗”，弗里德 · 布尔达博物馆/柏林沙龙（2021）；“海雾”，Vleeshal当代艺术中心，荷兰米德尔堡（2018）；“牧场”，Centre d’édition当代艺术中心，日内瓦（2018）；贝尔维尤城堡南花园个展，Le Consortium美术馆，法国第戎（2018）。

马修 · 鲁兹-克诺伊 / “肥皂泡”，巴塞尔艺术展，城艺之旅单元，2022
©Matthew Lutz-Kinoy
Photo. archives kamel mennour
Courtesy the artist and kamel mennour, Paris

马修 · 鲁兹-克诺伊 / “云之窗”个展现场，弗里德 · 布尔达博物馆/柏林沙龙，2021
私人收藏
摄影：Thomas Bruns
Courtesy the artist

此外，他的作品在近年参加的群展包括：“火焰-陶艺时代”，巴黎市立现代艺术博物馆，巴黎（2021）；日内瓦雕塑双年展，日内瓦（2020）；第14届沙迦双年展：“与伊莎贝尔 · 刘易斯一起离开回音室”，沙迦（2019）；“埃克豪斯 · 拉塔：着魔”，惠特尼美国艺术博物馆，纽约（2018）；“Welt ohne Außen，自1960年代以来的沉浸式空间”，柏林音乐节，柏林（2018）。

马修 · 鲁兹-克诺伊 / 群展“在卡斯特马尔的夏天”，卡斯特马尔别墅，卡普戴伊海角，法国，2021
©Matthew Lutz-Kinoy
Photo. archives kamel mennour
Courtesy the artist and kamel mennour, Paris

伊萨贝尔 · 刘易斯，马修 · 鲁兹-克诺伊，《HACKLANDER / HATAM, Untitled (inwardness, juice, natures)》，2019 / 行为艺术，混合媒介装置，声音装置，棕榈树桩，丙烯颜料，平纹细布，陶土杯，彩色丙烯板 / 尺寸可变
第14届沙迦双年展现场

他的作品还被收入了法国阿基坦大区当代艺术收藏, 比利时根特S.M.A.K.当代美术馆，意大利博尔扎诺ADN收藏，温哥华雷尼博物馆和日内瓦Syz收藏。画廊展出｜马修 · 鲁兹-克诺伊从陶艺传统中延伸的色彩与形式的循环崇真艺客

kamel mennour
Matthew Lutz-KinoyPlate is Bed
Plate is Sun
Plate is Circle
Plate is Cycle
6 rue du Pont de Lodi, Paris 6
17 October - 3 December 2022

For his second exhibition at the gallery, Matthew Lutz-Kinoy has drawn his inspiration from the universe of Bernard Leach, a renowned English ceramist known for his friendship with the Japanese potter Shōji Hamada. Lutz-Kinoy has taken the circular form of the plate—the most common, universal, and quotidian of objects,—and combined it with Leach’s abstract and figurative patterns in order to explore the notions of cycle and repetition that give their tempo to all forms of life. As is often the case with Matthew Lutz-Kinoy, there are animals and plants but also Roman numerals arranged on the face of a clock, a recurrent motif in the English tradition of slipware, which Leach was a part of. The motifs form circles that run over large, liquid canvases and onto the surfaces of metal tables covered in ceramic tiles whose square shape is explored further on in a group of paintings. The motifs appear in a series of drawings inspired by the tradition of Japanese Otsu-E prints, and continue in a series of eighty plates hanging on the wall. The light in the space filters through two huge velum textiles suspended from the ceiling, enveloping the exhibition in an atmosphere of domesticity, a crucial dimension to the project. Here the home, a place of birth, death, and daily repetition represents the cycle of life. There is no beginning and no end, only life’s eternal return, symbolized by the circular form of the plate.

Matthew Lutz-Kinoy’s work is rooted in performance, which can be seen in his affiliation to its values, like the fluidity of movement, collective cooperation, and physical engagment. He makes use of painting and ceramics with equal ease in order to create arrangements in space that ask to be inhabited more than looked at. His work requires us to shift our expectations in a way that we are not used to with contemporary art. If we want to see it, we need to abandon our assumptions about heroic gestures, power, and autonomy and learn to consider notions of softness, joy, and pleasure. The artist turns our perspective inside out, purposively using forms and tools that are thought of as minor and inoffensive to create the possibility of transforming the role of art.

Ceramics, which unite aesthetics and use, has allowed forms and ideas to circulate peacefully between cultures. By paying homage to an exemplary friendship between two ceramicists and the way in which ceramics have been an essential tool of dialogue between distant cultures, Matthew Lutz-Kinoy inscribes his project within a process of appeasement that today rings more truly than any confrontation can.

— Anne Pontégnie

About the artist

Matthew Lutz-Kinoy (1984, New York) lives and works in Paris.

His most recent solo shows include Soap Bubbles, Art Basel Parcours (2022); Window to the Clouds, Museum Frieder Burda | Salon Berlin (2021); Sea Spray, Vleeshal, Middelburg (2018); The Meadow, Le Centre d’édition Contemporaine, Geneva (2018); Southern Garden of the Château Bellevue, Le Consortium, Dijon (2018).

Additionally, Lutz-Kinoy's work has also been featured in recent group shows such as The Flames‐The Age of Ceramics, 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 and the Syz Collection, Geneva.


CURRENT EXHIBITIONS

  Matthew Lutz-Kinoy
    Plate is Bed
     Plate is Sun
    Plate is Circle    
    Plate is Cycle
    6, rue du Pont de Lodi, Paris 6
    17/10 - 03/12/2022

 Eugène Carrière
    Chapitre 1 · Madame Carrière
   Eugène Carrière with Antoine Bourdelle
   & Auguste Rodin  
   28, avenue Matignon, Paris 8
   17/10 - 03/12/2022

 Eugène Carrière
    Chapitre 2 · La tendresse (Scène de la vie 
   domestique)
   Eugène Carrière with Alberto Giacometti 
   & Henry Moore  
   5, rue du Pont de Lodi, Paris 6
   17/10 - 03/12/2022

 Eugène Carrière
    Chapitre 3 · Correspondances
    Douglas Gordon, Camille Henrot 
    & Christodoulos Panayiotou with Eugène Carrière
    47, rue Saint-André-des-Arts , Paris 6
    17/10 - 03/12/2022