Robin Kid: Kingdom of Ends
For his second solo show in Paris with Templon, Robin Kid is coming back to the Grenier-Saint-Lazare space with his new series 芦 Kingdom of Ends 禄, taking over the entire gallery to create an immersive experience consisting of painting, sculpture, video and installation, all centering around a two-story high mobile.
Through the evocative poignancy of mass-produced foundational imagery depicting our commonly shared childhood, Robin kid is delving into the notion of personal and cultural memories, conjuring up feelings of uncertainty but also of the most naive hopes and dreams gathered during childhood and teenage years.
By combining stainless steel panels and aluminum sculpture with oil painting in a toylike way, the artist is manufacturing an idealized billboard to our shared desire while operating in the context of power and control; Borrowing its title 芦 Kingdom of Ends 禄 from Kant鈥檚 ethical principle, the work explores our collective need and hope for a secure existence -and the fear that in Today鈥檚 world many might never attain it.
Influenced by Robert Rauschenberg鈥檚 鈥淐ombines鈥� and Jim Dine鈥檚 early works like 鈥淟awnmower鈥� and 鈥淐hild鈥檚 Blue Wall鈥� 鈥� the Kingdom of Ends series are hybrid works, neither painting nor sculpture, but both at once. They invade the viewer鈥檚 space, demanding its attention and instigate a dialogue by simultaneously becoming eye-popping and menacing yet perfectly balanced advertisements, invoking a nostalgia so strong it amounts to an ache, for they show us a time and place of which we are and always have been exiled from.
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For his second solo show in Paris with Templon, Robin Kid is coming back to the Grenier-Saint-Lazare space with his new series 芦 Kingdom of Ends 禄, taking over the entire gallery to create an immersive experience consisting of painting, sculpture, video and installation, all centering around a two-story high mobile.
Through the evocative poignancy of mass-produced foundational imagery depicting our commonly shared childhood, Robin kid is delving into the notion of personal and cultural memories, conjuring up feelings of uncertainty but also of the most naive hopes and dreams gathered during childhood and teenage years.
By combining stainless steel panels and aluminum sculpture with oil painting in a toylike way, the artist is manufacturing an idealized billboard to our shared desire while operating in the context of power and control; Borrowing its title 芦 Kingdom of Ends 禄 from Kant鈥檚 ethical principle, the work explores our collective need and hope for a secure existence -and the fear that in Today鈥檚 world many might never attain it.
Influenced by Robert Rauschenberg鈥檚 鈥淐ombines鈥� and Jim Dine鈥檚 early works like 鈥淟awnmower鈥� and 鈥淐hild鈥檚 Blue Wall鈥� 鈥� the Kingdom of Ends series are hybrid works, neither painting nor sculpture, but both at once. They invade the viewer鈥檚 space, demanding its attention and instigate a dialogue by simultaneously becoming eye-popping and menacing yet perfectly balanced advertisements, invoking a nostalgia so strong it amounts to an ache, for they show us a time and place of which we are and always have been exiled from.
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For his second solo show in Paris with Templon, Robin Kid is coming back to the Grenier-Saint-Lazare space with his new series 芦 Kingdom of Ends 禄
Robin Kid鈥檚 鈥淜ingdom of Ends鈥� series, exhibited at Templon in Paris, explores the intersection of personal and cultural memories.
