Before her career as an artist, Suchan Kinoshita, the child of a German mother and Japanese father, worked in the theatre as actor, director and set builder. These experiences informed her views, as an artist, on the role of the spectator as an active observer and the multiple and individual interpretation of a work of art. Kunoshita’s works of art unfold in the course of time, as dynamic processes in which the personal relationship between the spectator and the work take shape. The place and time of the presentation play an important part. As far as she is concerned, static depictions and representations of ‘something else’ are only a distraction. Kinoshita's mixed background and her experience in multiple artistic disciplines are clearly visible in her work, in which she looks for boundaries, transgresses them, and ignores them. One theme that Kinoshita regularly addresses is the experience of time and space. Important here are both the different conceptions of time and space in the two cultures in which she is rooted, as well as the different ways in which time and space are employed and depicted in the disciplines of theatre, music and visual art. She combines the process-based approach of theatre and music with the generally more static nature of visual art.
'To Whom It May Concern', different contributions for different moments during the ten days of Moscow.
Credits (c)image: M HKA
Suchan Kinoshita was unable to attend the Biennale personally, because of an earlier commitment in Italy. Her various contributions started from the notion ‘to whom it may concern’. The most crucial one was not realised. Kinoshita proposed that a chaos pendulum be suspended somewhere in the Biennale space: “This is an item known in physics, so some of the university labs might have one they could lend us. It is a pendulum which is built up out of two or three pendulums which help to prolong the moments of instability. Moments of instability being those which make the connections between circumstances. So the question is how to maintain that condition of instability.” Though the pendulum regrettably was not installed for real, it was there as a mental image. It reminded Alevtina Kakhidze of the laws of unstable systems and her days as an engineer. [Bart De Baere]