Kinke Kooi:
The Grotesk
of Raising
August 7–September 11, 2021

Artforum
Kinke Kooi
Sebastian Zinn
August 2021

Wendy Vogel and Kinke Kooi in conversation

Adams and Ollman, in collaboration with New Discretions (New York), is pleased to present the first West Coast solo exhibition of Dutch artist Kinke Kooi (b. 1961, The Netherlands). The show will bring together a selection of recent works that explore crucial ideas that the artist has long explored: gender, equality, and notions of the “other.” In her intricate, inventive paintings and drawings–which can take up to a year to complete–multi-faceted feminism is woven together with a seductive, sinewy line that blurs and merges inside to outside, convex to concave, surface to depth, ornament to function, emotional to verbal, high to low, flora to fauna.

Rendered in soft shades of pinks, reds, yellows, and greens, Kooi’s images are filled with ornate and florid details that coalesce to form a strange, seductive and anthropomorphic garden. She depicts an intertwined world, one that is flourishing and non-hierarchical. Clamshells, pearls, flowers, fruit, seedpods, fleshy folds, orifices, breasts, hair, baubles, and lace repeat throughout Kooi’s feminine terrains. In Birth of Venus, 2020 elaborately drawn clamshells open slightly to reveal their pearls while a softly glowing moon influences the tide, and theatrical curtains pull back to reveal nighttime vignettes. In another work, Bonding, 2019, a candy-colored rope dances on the page as it ties itself into decorative knots linking a fleshy landscape of crevasses lined with pearls to an area of gray that reads as the vastness of the unknown.

Shells–symbols of strength and solitude–point to the artist’s interest in patterns and fractals with their mathematical precision. Pearls denote hidden knowledge and perfection, signifying decoration and adornment, their smooth surface countering severity and sharpness, while strawberries reference sensuality, fertility, and abundance.The range of Kooi’s motifs draws from the language of ornamentation and decoration, which are themselves gendered concepts. Whereas ornament traditionally decorates a structure, Kooi’s line, color, form, shape, space, and gestural movement carry meaning and exist on their own terms: the decorative is an end in itself.

Another key theme is adaptability and hospitality; inviting someone in–whether it is to one’s conversation, home or body–subverts their autonomy. With a shared linguistic root, hostis means “to eat” or “to destroy,” as hospitality and hostility dialogue in Kooi’s compositions. Her imagery overtakes and overwhelms, creating visual equality that resists dichotomies or exclusivity but instead consumes everything. Kooi’s subversive nonbinary utopia embraces pretty or ugly, welcoming or repelling. The works are decidedly feminine and feminist; however, instead of eschewing formal elements and cliches–pink, frills, or adorned–the work wholeheartedly embraces them. Again, with Kooi, everything is connected.

Kinke Kooi was born in 1961 in Leeuwarden, Netherlands, and attended the Academy for the Visual Arts in Arnhem. From 1998 through 2013, Kooi had five one-person exhibitions with Feature, Inc., New York. Kooi has had solo exhibitions at the Museum of Modern Art in Arnhem and has participated in group exhibitions at Mills College Art Museum in Oakland and the Yerba Buena Center for the Arts in San Francisco, both California: Museum Boijmans van Beuningen, Rotterdam and the Aldrich Museum of Contemporary Art in Ridgefield, Connecticut, among other venues. Her work is in the Rijksmuseum, Amsterdam; Museum Boijmans van Beuningen, Rotterdam; Arnhem Museum, Arnhem; Rijksmuseum Twente, Enschede; Fries Museum, Leeuwarden; and the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, New York. Kinke Kooi lives and works in Arnhem, the Netherlands.

Wendy Vogel and Kinke Kooi in conversation

Artforum Critics’ Pick by Sebastian Zinn

Select Works

Kinke Kooi
Bonding, 2019
acrylic, gouache, fineliner on paper
40.5h x 26w in
103h x 66w cm
KK2019002


Kinke Kooi
The Grotesk of Raising, 2021 acrylic, gouache, colored pencil, collage, yarn on paper
each panel: 40.2h x 30w in; 102h x 76w cm
overall: 40.2h x 89.75w in; 102h x 228w cm  
KK2021004  


Kinke Kooi
Birth of Venus, 2020
acrylic, gouache, colored pencil on paper
40.2h x 30w in
102h x 76w cm
KK2020005


Kinke Kooi
Fertile Gaze, 2011
acrylic, gouache, colored pencil on paper
7.5h x 10.4w in
19h x 26.5w cm
KK2020006
 

Kinke Kooi
Impressions, 2019
acrylic, gouache, colored pencil on paper
22.4h x 30w in
57h x 76.2w cm
KK2019008  


Kinke Kooi
In Touch, 2011
acrylic, gouache, colored pencil on paper
26h x 16.5w in
66h x 42w cm
KK2011009 


Kinke Kooi
Why Do Men Have Nipples? (2), 2020 acrylic, gouache, colored pencil, shells, buttons, press studs on paper
12.2h x 10.1w in
31h x 25.7w cm
KK2020014


Kinke Kooi
Meditation on Vanity, 2020
acrylic, gouache, colored pencil, yarn, amber necklace on paper
13.75h x 13w in
35h x 33w cm
KK2020011


Kinke Kooi
Principle of Motion, 2011
acrylic, gouache, colored pencil on paper
5.3h x 4.5w in
13.5h x 11.5w cm
KK2011012


Kinke Kooi
Immanence (2), 2018
acrylic, gouache, colored pencil on paper
18h x 11.8w in
46h x 30w cm
KK2018007