SUPERDEMOCRACY

*Eerste Huwelijk - Tweede Huwelijk* (translated as *First Marriage, Second Marriage*) was conceived as a provisional architectural whole in which the audience – an ever-present concern in much of Kinoshita’s participatory practice – could freely redefine its relationship to the various museum spaces, in the process of course also questioning the power structures that govern these spaces. This dense fabric of relationships, both spatial and temporal, is the true material from which the artist distills her works; not surprisingly, Kinoshita has often been named in early historiographies of what later became known as “relational aesthetics”. In a number of adjoining rooms inside *Eerste Huwelijk* a series of animated films were shown in which the artist explored the porous borders between dream, reality and narrative fiction – one of these films in particular was projected on a Venetian blind that automatically, ceaselessly opened and closed again.