28-29-30 October 2019
Universität / Haute École
for student applications
Matthew Lutz-Kinoy (1984, New York) lives and works in Paris. 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. Embracing the spirit of collaboration as a means to expand knowledge and skills, the breadth of techniques and references used across his practice are the result of many collaborative ventures. Where his ceramics are influenced by working with artists in the US, Europe and Brazil, his large-scale paintings unearth his fascination with the refined, sophisticated and carnal painting style of the 18th century. Constantly reflecting on his own positionality as an artist, Lutz-Kinoy places himself at the core of his practice – enabling him to manipulate and direct, whilst simultaneously undermining his own role as artist within the production of his work. Recent solo shows include: 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); Song And Love, Matthew Lutz-Kinoy & Ola Vasiljeva, Indipendenza, Rome (2018). His work has also been featured in the following group shows: 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); 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 (2016). His work can be found in the collections of the FRAC Aquitaine, S.M.A.K. Gent, the ADN Collection, Bolzano and the Syz Collection, Geneva.
Isabel Lewis (Born in Santo Domingo, 1981) is a Dominican- American artist raised in southwest Florida and currently based in Berlin. Before relocating to Berlin in 2009 she lived in New York City for where she danced for many choreographers showed her own commissioned works for the stage at Dance Theater Workshop (now New York Live Arts), PS122 (now Performance Space New York), Danspace Project at St. Mark’s Church, and also participated in other experimental formats and artist-run initiatives such as AUNTS, ClassClassClass, and Movement Research Festival 2007 Reverence (Irreverence). Trained in literary criticism, dance, and philosophy her work since 2010 takes on many different formats from lecture performances to workshops, deecors, hosted occasions, sensory parcours, activations of public space, and artistic/curatorial works like the Institute for Embodied Creative Practices (2018-ongoing). Lewis focuses her work on the aesthetics of the experiential creating spaces of sociable encounter between human and nonhuman agents and modeling formats for alternative modes of sociality among them. Lewis has created works around topics such as open source technology and dance improvisation (Communal EPIC Fiction, 2010), social dances as cultural storage systems (Mountain Grass, Mountain Hare : bodily imprinting and social dances, 2012), future bodily techniques (BALLISTIC BODY, 2011), rapping as an embodied speech act (FLOW PLAY : Sensualized Speech and Hip Hop 2013), and the sociological concept of erotic sociability (Unambitious Stripper 2017-ongoing). Lewis’s work has been presented by Dia Art Foundation, Tate Modern, Centre d’Art Contemporain Genève, Kunsthalle Basel, Frieze London, Liverpool Biennial, Serpentine Galleries, Fondazione Sandretto Re Rebaudengo, Tanz Im August, Kampnagel, Gropius Bau, Göteborg International Biennial for Contemporary Art, Palais de Tokyo, Creative Time with Art Basel, Ming Contemporary Art Museum, Sharjah Biennial, and Karachi Biennial Trust among others.