Illy Prize 2012 nominee: Pauline Boudry/Renate Lorenz
Change is a keyword in the art of Suchan Kinoshita. Her work and oeuvre is always evolving, making every encounter between object and spectator an unpredictable experience. Kinoshita considers every exhibition as part of a bigger whole of which the outcome is not completely determined by the artist. The object itself, the space surrounding it and the connection between the art object and the beholder are important elements that reoccur in all her works. Her art is dynamic and interactive, deriving from her background in music and theatre. It invites viewers to bridge the different sectors of art and theatre, architecture and music through personal experience. In her installations she creates a subtle interplay of objects, sound and spatial perception, emphasizing movement, space and time.
In 2011, a new project was presented at Ellen de Bruijne Projects. In these new works, of which some pieces are exhibited at Art Rotterdam 2012, Kinoshita explores and questions space in all its different facets. The word Fehler (failure, mistake) is included in the titles of all the works, but the artist plays with its definition, use and emotion. In Aber auch darin liegt ein Fehler a video of a theatre setting is shown, which creates not only a space within a space but also changes the common connotation of the protagonist. In the more textual works Aber auch dann fehlt ein Fehler and Aber auch dann lügt ein Fehler Kinoshita takes the word further into abstraction, exploring its boundaries. Almost contradicting this abstraction is Aber auch dann liegt ein Fehler, which seems to literally depict its title.
Suchan Kinoshita (JP, 1960) lives and works in Maastricht. After finishing the Musikhochschule in Cologne she studied at the Jan van Eyck Academie in Maastricht. From late 1980s her multidisciplinary installations were exhibited regularly on an international level. She had solo exhibitions at Mudam, Luxembourg (2011); Bloomberg Space, London (2010); Ikon Gallery, Birmingham (2007); Van Abbe Museum, Eindhoven (2008); New Museum of Contemporary Art, New York (2004) and MuHKA, Antwerp (2002). Her work was also included in the 7th Shanghai Biennial (2008), Skulptur Projekte Münster (2007), just as the series of exhibitions If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution and A for Alibi in the Appel, Amsterdam (2007). Kinoshita was the winner of the 1992 Prix de Rome and in 2010 she and the Ludwig Museum in Cologne received the “ Kunstpreis des Kuratorium der Kunststoffindustrie” (Fine Arts Prize of the Board of Trustees of the Plastics Industry).This made her solo exhibition In 10 minutes (2010) possible.
Whether it’s a painting, video or sculpture, Kloosterboer’s work derives from the same world of ideas, in which ‘acted action’ and ‘drama’ are central points of departure. With this more theatrical way of thinking, Kloosterboer expresses his opinion that for him making art is an act of making an action, resulting in an art piece, id est an acted art piece.
At Art Rotterdam 2012, Ellen de Bruijne Projects will be presenting five works from the very extensive oeuvre of Kloosterboer. In these works his above shortly mentioned views on art are lively visible. The strong coloured pieces are all consequences of a specific action of the artist. The act of painting is like a ritual of occupation, in which one thing takes place so that another cannot. The process of deciding to make a work is a dramatic moment for Kloosterboer, since after the creative act all other possibilities are excluded. The action is more important than the eventual product; “the work does not matter”. Though afterwards his conscience often plays tricks on him and this is particularly expressed – in his view – in the large sizes of his canvasses and objects. If the “work does not matter”, why are they so present? This is only one of the many conflicting or contradicting thoughts of Kloosterboer, which he uses to build on and at the same time questions the work, creating painterly sculptures and sculptural paintings.
Klaas Kloosterboer (NL, 1959) lives and works in Amsterdam after attending the Rijksakademie there. He had solo exhibitions at Badischer Kunstverein, Karlruhe (2003), and at Villa Roma, Florence (2010). As part of the Reykjavik Arts Festival (2009), he had a solo exhibition in Sudsvestur. He participated in ‘Dumb painting’ at Centraal Museum, Utrecht (1992); ‘Bildraum Erweitert’ at Museum Dhondt-Dhaenens, Deurle (1997) and The ‘Projection Project, Budapest episode’ at Kunsthalle, Budapest (2007). His work can be found in private collections in Norway, Iceland, The Netherlands, Germany and Belgium. Public collections like the Schunck Museum, Heerlen; Museum Boijmans van Beuningen, Rotterdam; Centraal Museum, Utrecht and Stedelijk Museum, Amsterdam own his work. In 2009 Museum Boijmans van Beuningen presented work by Kloosterboer in two rooms during a group show with overview of part of their collection. In 2011 his work was part of the exhibition “Schenking” of Maurice van Valen at Stedelijk Museum Amsterdam.
The Berlin-based duo Pauline Boudry & Renate Lorenz (Switzerland, 1972 / Germany, 1963) have an interest in the almost simultaneous invention of sexuality and sexual perversions on the one hand, and photography and film in the 19th century on the other hand, as well as in their relationship with the colonial economy. Mostly filmed in 16 mm and featuring distinctive aesthetics that highlight the autonomy of the camera, music, costumes and props, the work of Boudry and Lorenz gives rise to performances that they define as “queer archaeology”. They rediscover forgotten moments in history, in which nonstandard bodies and social constellations are visible.
Charming for the Revolution
“The film is charming, but it is still labour. The labour to engage in demanding what should already be ours.”
With a wink to Jack Smith, the New York underground performer and filmmaker from the 60’s to the 80’s, as well as to the history of queer and feminist calls such as “wages for housework!”, the film recreates the “housewife” as an ambiguous figure with an open future. Additional references extend from Deleuze-Guattari’s becoming-animal, the Dandy of the 19th century, who out of protest against the clock pulse of the industrialisation walked turtles on leashes, as Walther Benjamin described him, to Pasolini’s ironic-capitalism critical film “The Hawks and the Sparrows”.
Boudry/Lorenz have made the works No Future and No Past (2010) Normal Work (2007), N.O. body (2008), Salomania (2009) Charming for the Revolution (2009) and Contagious (2010). Pauline Boudry studied at the Ecole Supérieure des Beaux-Arts in Geneva, and worked with Renate Lorenz at the Shedhalle/Rote Fabrik in Zurich. She also founded the music band “Rhythm King and her Friends” and “Normal Love”. Renate Lorenz also works as a curator and academic author. In addition to the video installations, they have coproduced television pieces (“Copy Me – I want to travel”, 2004, Arte), critical books (“Reproduktionskonten fälschen!” ed. Pauline Boudry, Brigitta Kuster, Renate Lorenz, 1999, b-books), and exhibitions (“Normal Love”, Künstlerhaus Bethanien, Berlin, 2007). The duo recently exhibited at the Musée cantonal des Beaux-Arts, Lausanne (winning the Accrochage 2010 award), as well as at the Kunstverein, Munich, the Museum of Contemporary Art, Belgrade, and the Generali Foundation, Vienna. Their work was also prese ted as solo shows at the Swiss Institute, New York, Gallery 44, Toronto, Les Complices, Zurich (where the exhibition was amongst the six finalists of the Swiss Exhibition Award 2008). Their work has also been shown at the Venice Biennial 2011 at the Swiss Off-Site Pavillion Teatro Fondamenta Nuove, with the show Chewing the Scenery curated by Andrea Thal.
A new production will be made “Toxic” for the Paris biennial 2012, curated by Okui Enwesor.