Matthew Lutz-Kinoy

Goat of Paradise

Video diptych, colour, 1st LED wall 12'20'', 2nd LED wall 12'36'', 2021

IN ORDER TO COMMIT TO REDUCING OUR ELECTRICITY CONSUMPTION TOGETHER, THE VIDEO WORKS OF THE MIRE PROGRAMME ARE BROADCAST ONLY DURING PEAK HOURS, FROM 7AM TO 9.30AM, FROM 12PM TO 2.30PM AND FROM 5.30PM TO 8PM. THANK YOU FOR YOUR UNDERSTANDING AND HAVE A NICE TRIP.

The camera in the video diptych Goat of Paradise takes a leisurely look at a bucolic Switzerland, passing through forests and fields nestled on the side of majestic mountains. The calm seems unruffled and timeless. The elongated format of the screens allows the artist to replicate the spirit of traditional Swiss alpine painting, where long processions of animals and men, placed end to end, cross the image. This sequence of solemn perspectives is only blurred by the costumes of the cows and goats that burst into the picture, wearing strange hybrid outfits, between wreaths of flowers customary in the désalpes (cattle descent) and contemporary crochet. Matthew Lutz-Kinoy worked with the New York designers of Eckhaus Latta to create these garments, which were designed especially for this project. Combining macramé, patchworks and braided fabric belts, a whole universe oscillates between classic craftsmanship and contemporary destructuring.

The remarkable filming work moves from wide shots to very tight and cut shots, showcasing the costumes very much in the spirit of a fashion film where each piece pays tribute to the traditional Swiss textile craft. Goat cheese and local coins burst into the picture as if tumbling down the mountain to surprise the viewer with quirky allusions.

Production: Fonds cantonal d'art contemporain, Genève.

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Véronique Goël

Lauren Huret

©Matthew Lutz Kinoy_photoarchiveskamelmennour

Matthew Lutz-Kinoy (born 1984, New York) uses a wide variety of media, including sculpture, printmaking, ceramics and painting, as well as video. He has developed these techniques through personal and practical experience, but also through artistic encounters that open the door to new processes.

His cooperative approach is essential to expanding his knowledge and skills, and the range of references used in his work is the result of numerous collaborations. While his ceramics are influenced by like-minded artists in Europe and Brazil, and while he works regularly with the fashion designers of the Eckhaus Latta brand, his large-scale paintings reveal a fascination with the refined and voluptuous style of 18th century painting.

However, Lutz-Kinoy’s core practice is performance. Drawing on the history of queer and collaborative practices, as well as his training in theatre and choreography, his performative work explores narratives of identity constructions and experiences in social space. By challenging his own position as an artist, Lutz-Kinoy constantly repositions himself in his practice. This allows him to manipulate and direct his work while disrupting his role as an artist.