Suchan Kinoshita utilizes everything from building materials to pre-existing decorative objects to assemble sculptural and architectural elements and to make videos. Her work, which ranges from small items to large installations, from fine and fragile to heavy and solid, will be on view at the Museum Ludwig. The result is an exhibition that invites visitors to look from the floor level or the balcony and to move around for different views and insights. What awaits them is a subtle interplay of objects, sounds and spaces that enables exploration of what happens between sound and silence, distance and nearness, persistence and fleetingness. Kinoshita’s work is informed by her combined experiences in theatre, music and visual art. In her performances and exhibitions the roles of the performers and spectators shift, prompting participants to question their own positions. This non-hierarchical, open-ended approach is both unsettling and productive; it presumes an interaction between person and thing, an unusual two-way street. The exhibition thus acquires a contemplative tone that emphasizes the associative character of Kinoshita’s art.
Within the gallery space, Kinoshita will place numerous small and large objects on the floor, tables and shelves. The small, almost delicate “Guckies” (prepared slide viewers) make the small look monumental and the familiar look strange. The fragile “Clocks” contain fluids that measure time by different speeds and whose activity depends on the temperature. The unyielding black “Isofollies” (detritus wrapped in plastic) hide their contents. Filmed performances with a play of light and language use elements that will also be present as stand-alone things: a disco ball and a round, rotating stage. The exhibition comprises many small presentations that stand by themselves and still come together. A video, a performance, an entrance may always be “in ten minutes”, or perhaps it’s already running as anticipation, participation and action merge.
The Museum Ludwig and Suchan Kinoshita have been awarded the Fine Arts Prize of the Board of Trustees of the Plastics Industry. It has made this exhibition possible.
The new productions with the Inbetweener were realized with a grant from the Netherlands Foundation for Visual Arts, Design and Architecture and were co-produced by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution.
A catalogue will be published by the Verlag der Buchhandlung Walther König