Places and hearts – #10 Lulu, Mexico 

Santiago de Paoli

Miho Dohi

Manfred Pernice

Lulennial II: A Low-Hanging Fruit.

Lin May Saeed

Hayley Tompkins

Ella Kruglyanskaya and Matt Paweski

Anna Schachinger

Lulu is an independent project space founded and run by Martin Soto Climent and Chris Sharp in Mexico City. On April 9th, we celebrated our 5 year anniversary.

KubaParis
Is „home“ the place where you’ve been born?

Chris Sharp from Lulu
On a good day, home is probably where I did formative drugs in my adolescence (e.g., LSD on Mount Tamalpais, Mill Valley) or Mexico City at twilight passed through on my bike. On a bad day, it is a malevolent abstraction whose negative contours seem legible only to roiling packs of hyena-like demons lurking in the near distance. But then again, those two could easily reversed …

KubaParis
What do you see and feel when you look out of the window?

Chris Sharp
Alternatives, I suppose (almost like art). And the occasional fleeting fit of peace.

KubaParis
How would your best friend (partner/visitors, guests) describe your rooms?

Chris Sharp
By which you mean my home? My apartment? If so: clean, with a lot of art. Too much maybe. And books, of course. A single, dying plant.

KubaParis
How do you decide which artist you exhibit?

Chris Sharp
There are a number of factors, the most important of which is: the extent to which the work is well-crafted, considered, and committed to the history of whatever medium it uses, not to mention whether or not it has any problems, real problems. It’s also important that whatever we show be capable of creating a productive friction in the local context, while being able to, first and foremost, engage in a discussion of contemporary art on an international level. Other factors include gender (it’s good to occasionally show men), and, unfortunately nationality (being located in Mexico, which is a very nationalistic country, we have to be mindful of not privileging any given nationality too much). The idea is to keep things as rich and varied as possible.

KubaParis
Your favourite art space?

Chris Sharp
Any space where people who really love art and show art in a way that is truly thoughtful and considered. I guess that means any space that shows art with integrity, the art as much as the space. But spaces I really love now include High Art in Paris, Essex Street in New York, Park View in LA/Brussels, Max Mayer in Dusseldorf, and Misako & Rosen in Tokyo. I like the degree of rigor with which all of these galleries approach their programs. They are marked by a sense authorship that exists somewhere between the independent space and the curatorial.

KubaParis
Why do we need independent art spaces?

Chris Sharp
The answer to that question depends on the context. In some contexts, the independent space is the only real site of experimentation. In others, it is serves an almost intermediate role between the commercial and the institutional. I think Lulu is the latter.

KubaParis
What does independence mean for you?

Chris Sharp
To be ultimately free from market and institutional pressures– easier said than done.

KubaParis
What does Lulu stand for?

Chris Sharp
Do you mean the name? If so, we named our space after our local juice stand (she’s a block and half away from Lulu), Jugos y Licuados Lulu. She has been to Lulu a number of times and generally seems to approve of our shows. We often get juice for our openings made by her. If you mean what do we stand for as a space, as in what is our good fight? What are our principles? Lulu stands for art. It seems like a given, but it’s not. I know very few curators, spaces and institutions who actually stand for art, who actually see it as an end in itself, but see it more often as a means to an end.

KubaParis
Something you‘ve always wanted to say?

Chris Sharp
I loathe it when I see curators or art professionals say that art has nothing to do with beauty– as if dismissing beauty, like dismissing painting rendered them somehow more serious, as if this were some kind of radical proposition, and finally as if beauty in art– that thing that has the potential to at once lift people out of the world and make them inhabit it like never before and make them dream– somehow precluded the complexity of the social, political and historical aspects of art from co-existing right along side of it.

Places and hearts a series by Amelie gr. Darrelmann

www.luludf.com

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