Playing a complex relationship between reality and fiction, the approach of Rudy Kanhye (artist and curator born in 1991 in Dijon France, living and working in Glasgow) is to seize seemingly disparate elements(objects, images, situations, texts) and assemble them to write their own narrative systems. Characterized by conceptual rigour, visual simplicity and allusive texts, Rudy Kanhye’s work questions the process of appearance and the mechanisms of perception of the work of art. Installations, photographs, performances, publications or inserts in the press are used to develop a reflection on the discursive potential of art and its transmission systems. His practice, which mobilizes the language extensively and is articulated around multiple collaborations, intends to "make the invisible visible" and provide the "possibility, the conditions for things to happen".
"Rudy’s interest in the image as a field of narcissistic and inexistent spaces or non-spaces, in between reflections and [lost] partial objects was exemplified in his serial works made in England, that were equally concerned with the loss of any kind of visual representation of the image itself. What the image presented as void or elusive/ Rudy questioned the success of works of art that figure as performing a social interpolation - which proposed an over-identification within the status quo - or the symbolic order of a community - where the loss/destruction of the image, or the memory is re-enacted in terms of a collective memory.
In his photographs absence and presence often exchanged places in a way that induced melancholia as a ‘preferred’ thinking about the impossibility of a space of exchange, however as an exemplary position in [post]modernist photography. These works are composed along viewpoints that hold their distance from direct contact, often veiled or suggesting something missing [as in Antonioni’s cinematic montage for example] or no longer available to sight, or just out of sight.
(...) Rudy questioned the success of works of art that figure as performing a social interpolation - which proposed an over-identification within the status quo - or the symbolic order of a community - where the loss/destruction of the image, or the memory is re-enacted in terms of a collective memory. A break of the trauma of forgetting performed in the use of simulacra [like opposing cinema to theatre and intentionally reframing the relations to the viewer position]. The photograph is staged in between these experiential and disembodied forms of engagement with a viewer or audience, once removed from an assumed role or identification. Some of Alfredo Jarr’s projects come to mind with the kind of work Rudy might find important in the future in relation to how his interest in photographic installations is to be constructed, - his work is ‘politicised’ in the sense of dealing with 'projects' where there are indistinct representations / disappearances, or exclusions – presenting ideological silences by extreme reduction or concealment. Art and politics are in awkward relation.
The idea of voiding, [which initiates a political problem] of incorporating exclusions, or exceptions to the community, is also written in through Badiou's work on proposing an affirmative aesthetics. Rudy had studied some of these theories, suggesting material to help develop his own interpretation or to understand how to arrive at properly installed photographic works / texts in situ, in the ‘locus’ of a place, if the work itself is to be concerned the non-place or the amnesiac history, without documentation. Documentary photography and film poses the problem of fiction and imaginary within the assumption of ‘reality’."
Peter Lewis, 2014
"Visual artist and photographer Rudy Kanhye's work considers the relationship between direct experience and visual interpretation, to draw the viewers through a multilayered journey. He captures non sharpness with an universal language, to trigger the viewers' perceptual parameters. One of the most impressive aspects of Kanhye's work is the way it accomplishes the difficult task of questioning contemporary visualization practice that intends to draw the viewers into an immersive, intense visual experience: we are very pleased to introduce our readers to his stimulating and multifaceted artistic production."
Katherine Williams/John Ryder, 2016
2018_(Upcoming) Invisble mouth, without hands, letters, was this already words? Mount Florida studio. Glasgow. UK
2017 _Curate, The Depot. London, Uk
2017 _ You can feel it but you can’t hear it, solo exhibition, Kino Rex Bern, Switerland
2017 _ what about you weird kid, Glasgow Botanic Garden (curator)
2017 _ Artists’Cookbook Launch at the Centre for Contemporary art Glasgow
2017 _ Trim, Mlitt sculpture and Printmaking interim show (Glasgow school of Art) at the Royal Glasgow institute of fine Art Kelly Gallery (curator)
2017 _ Editor, The sky is Falling, Center for Contemporary Art, Glasgow
2017 _ Replace program with art. [Collaboration with the Artist Sabe Lewellyn] CCA Glasgow, Scotland
2017 _ Mlitt Graduate Degree show, Glasgow School of Art
2016 _ A MESSAGE OUT OF THE BIG BLUE..., Collective exhibition, Gallery an other Vacant Space, Berlin
2016 _ I boat, Collective Exhibition, Antre des Arts. Bordeaux, France
2016 _ 4 words, collective exhibition, Project Curated by Alan Dunn. Liverpool, UK
2015 _ Open studio, solo show, Arts letters and numbers Albany, New York. Usa
2015 _ Framed, collective intervention, Leeds, UK
2014 _ Float art, Art Fair, the Bargehouse, Southbank, London
2014 _ The ecliptic of sex, solo show, Leeds, UK
2012_ Culture Conjugue, collectibe exhibition, Dijon, France
2017 _ Grizedale Arts Center, Uk.
2015 _ Arts letters and numbers, Albany, New York. Usa
2013 _ Videochronique, Marseille, France
2016 _ Art landscape review edition 16
2015 _ Voir magazine
2017 _ Artist’s cookbook by Rudy Kanhye, published by Inconkrete
2018 _(Upcoming) Artists' BookMarket - The Fruitmarket Gallery, Edinburgh. Scotland.
2018 _(Upcoming) Fully booked book fair, Dubai. United Arab Emirates.
2017 _ Dublin Art Book Fair Art and Architecture: Interwoven. Dublin, Ireland
2016-2017 _ Mlitt curatorial Practice. Glasgow School of Art
2015 _ APD Art and Design Leeds Beckett University
2014 _ Master in fine ART from the National superior school of art of Dijon, France and Master in Fine Art at from Leeds Metropolitan University
2013 _ BA in Fine Art, National superior school of art Dijon France
2009 _ Graduation of french high school diploma, cinema France