"The thing that I thought mainly about doing was playing with the idea of performance documentation. I wanted to expand the idea of performance documentation through a type of behaviour, playing with the anxiety that you need to have performance documentation. What is needed to create this patina on an object that gives it its special narrative, and maybe that has to do with creating a really wild event around the presentation of something that then is really dominating the viewing of the work, that helps to build a secure frame around the objects, so that the performance document can be a studio object. You can create a reading around it so that the performance that happens around the object is so strong or so dominating or so impressive, that it becomes fully integrated into it as a work. That’s the test here, seeing if maybe this is a way to talk about biography, a way to talk about storytelling and placing narrative onto objects so that there’s something inherently social in these privately made objects, something that declares them as social because they develop a collective story around themselves. I acknowledge that this has to do with developing a biography, developing a personality that shines around your work. If you’re interested in these issues of performative objects, then that’s a big part of it, and it’s a very self conscious decision I made a long time ago that I have to be alive, and I have to be present because I’m interested in these kind of indexical objects, I’m interested in the impression of a creative practice. I decided that if I was interested in the index, I needed to be interested in performing live, and developing a live persona or way of being, it really came out of a practice interest". 

- Matthew Lutz Kinoy 

"On May 1st, 2013 at 6:30pm, at OUTPOST Studios in Norwich, he originally presented Fire Sale, a medley of his most popular dance performances set to a live soundtrack by SOPHIE. He danced exhaustively around a flaming crate until it burned down and a series of figurative ceramic reliefs were taken from the ashes. The dance itself was as an index of previous works and, at same time, this index was objectified and transferred onto hardened objects, emancipated in its own right. Mainly at play was an interrogation of the inherently problematic idea of performance documentation, sitting somewhere between the anxiety that is the prerequisite for any document and the experience of the actual work. The artist’s preliminary interest to talk about biography, storytelling and inscribing narratives onto objects, to examine whether there’s an inherent social aspect to these privately made things— by declaring them as social because they develop a collective story around themselves—, came with the acknowledgement that developing a biography and a personality is an implied part of this process. Bodies emerged. "
-SOCIAL FANTASY (Mousse Magazine #56)
Matthew Lutz-Kinoy interviewed by Tenzing Barshee
http://www.mendeswood.com/en/exhibition/141