Yuji Agematsu

Mexico City: April 1 to 13, 2019

13/04 - 29/06

 (scroll down for English) 

Lulu está muy feliz de presentar una exhibición individual del artista nacido en Japón, radicado en Nueva York, Yuji Agematsu.

 Yuji Agematsu es conocido por crear esculturas de los aparentemente insubstanciales escombros de la vida cotidiana. Un residente desde hace mucho tiempo de Nueva York, Agematsu camina las calles agarrando todo, desde pequeñas envolturas, a chicles masticados, a desechos de embarcaciones y naufragios de origen inidentificable. Cada trouvaille es anotado en una pequeña libreta, en la cual el artista documenta el tiempo, lugar y fecha del hallazgo en una combinación de inglés y japonés. Si el escombro es lo suficientemente pequeño, es insertado y amalgamado a lo que el llama “zips” – las pequeñas envolturas de celofán de los paquetes de cigarrillos que llena de material únicamente en el día que es encontrado y que luego eventualmente colecciona por meses. O si lo que encuentra es demasiado grande, este es propenso a entrar en otras configuraciones esculturales que pueden estar emplazadas en un pedestal, o fijadas con alfileres a un tablero blanco de espuma o directamente a la pared como muchos especímenes entomológicos. Y mientras su práctica pueda parecer arqueológica, como lo es científica, es ante todo escultural. Lo que Agematsu presenta está claramente marcado por su toque decididamente alquímico. Sus colaciones, yuxtaposiciones y aglomeraciones están llenas de una meticulosa y sorprendente belleza formal; forma, color y textura juegan roles igualmente importantes en las composiciones que él crea. Sus objetos ofrecen un especial e inesperado conocimiento de la ciudad, que es un producto derivado de ambos, su proceso de selección y cómo aísla y hace visible su modesto desperdicio. Es como si él nos estuviera proveyendo de una visión de la ciudad de un ojo de un bicho encantado y que nos permite a percibirla de una manera que de otra forma sería inaccesible para nosotros.

Para su exhibición en Lulu, Agematsu pasó casi dos semanas deambulando las calles de la Ciudad de México. Por lo tanto, lo que va a presentar estará enteramente tomado de sus peregrinaciones de la capital mexicana. Los espacios estarán divididos en una mucho más tradicional, si elegante instalación al frente, y algo mucho más experimental en la parte trasera, la cual el artista ha pintado amarillo y verde, para hacerlo parecer como el mercado de La Merced en el centro de la Ciudad de México. Como un conjunto, la exhibición está destinada a sobresaltar, fascinar, disgustar y últimamente encantar. 

 Yuji Agematsu (n. en 1956 en Kanagawa, Japón) vive y trabaja en Brooklyn, NY. Agematsu studio con Tokio Hasegawa, un miembro de la banda Taj Mahal Travellers, y el baterista y coreógrafo de jazz Milford Graves. Una selección de exhibiciones individuales recientes incluye: The Power Station, Dallas, (2018); Self-Portrait at Miguel Abreu gallery, Nueva York (2017); Yale Union, Portland (2014); y Real Fine Arts, Brooklyn (2014 & 2012). Una selección de exhibiciones grupales recientes incluye: Carnegie International, 57ava edición, curada por Ingrid Schaffner, Carnegie Museum of Art, Pittsburgh, PA, Estados Unidos (2018-2019); Speak Lokal, Kunsthalle Zurich (2017); The Keeper, curada por Massimiliano Gioni, The New Museum, Nueva York (2016). Está actualmente preparando su segunda exhibición individual en la galería Miguel Abreu, Nueva York, así como otras exhibiciones. Su trabajo está en las colecciones permanentes del Whitney Museum of American Art, la galería de arte Albright-Knox, y en la colección Pinault.

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Lulu is very happy to present a solo exhibition of the Japanese-born, New York-based artist, Yuji Agematsu.

Yuji Agematsu is known for creating sculptures out of the seemingly insubstantial urban debris of every day life. A long time resident of New York City, Agematsu walks its streets gathering up everything from tiny wrappers to chewed gum to modest flotsam and jetsam of unidentifiable origin. Each trouvaille is notated in a small notebook, in which the artist records the time, place and date of the find in a combination of English and Japanese. If the debris is small enough, it is inserted into and amalgamated into what he calls “zips”– the small, cellophane wrapper from a pack of cigarettes which he fills from material only on the day it is found and then eventually collects into months. Or if what he finds is too large, it is liable to enter other sculptural configurations which might be placed on a plinth, or pinned to white foam-core board or directly to the wall like so many entomological specimens. And while the practice might seem to be as archeological as it is scientific, it is first and foremost sculptural. What Agematsu presents is clearly marked by his decidedly alchemical touch. His collations, juxtapositions and agglomerations are full of a meticulous and surprising formal beauty; form, color, and texture play equally important roles in the composition of what he creates. His objects offer a special, unexpected insight into the city, which is a byproduct of both his process of selection and how he isolates and renders visible its modest refuse. It’s as if he were providing us with a charmed bug’s eye view of the city and allowing us to perceive it in a way that was otherwise inaccessible to us. 

For his exhibition at Lulu, Agematsu spent almost two weeks wandering the streets of Mexico City. Therefore what he will present will have been entirely drawn from his peregrinations of the Mexican capital. The spaces will be divided into a much more traditional, if elegant installation in the front, and something much more experimental in the back, which the artist has painted yellow and green, to make it look like La Merced market in central Mexico City. As a whole, the exhibition is bound to startle, fascinate, disgust, and ultimately enchant. 

 Yuji Agematsu (b. in 1956 in Kanagawa, Japan) lives and works in Brooklyn, NY. Agematsu studied with Tokio Hasegawa, a member of the band Taj Mahal Travellers, and the jazz drummer and choreographer Milford Graves. A selection of solo exhibitions includes: The Power Station, Dallas, (2018); Self-Portrait at Miguel Abreu gallery, New York (2017); Yale Union, Portland (2014); and Real Fine Arts, Brooklyn (2014 & 2012). A selection of group exhibitions includes: Carnegie International, 57th edition, curated by Ingrid Schaffner, Carnegie Museum of Art, Pittsburgh, PA, USA (2018-2019); Speak Lokal, Kunsthalle Zurich (2017); The Keeper, curated by Massimiliano Gioni, The New Museum, New York (2016). He is currently preparing his second solo at Miguel Abreu gallery, New York as well as other exhibitions. His work is in the permanent collections of the Whitney Museum of American Art, the Albright-Knox Art Gallery, and in the Pinault Collection. 



Lea von Wintzingerode

The Contract

Lulu annex

13/4 - 31/7

Opening  13/04/19,  2-6 pm, otherwise by appointment only
Lulu annex, Tlaxcala 38, int 6. Roma Sur, 06760 Mexico City

 (scroll down for English) 

“Cuando de pronto me veo a mi misma en las profundidades del espejo, me asusto. Puedo escasamente creer que tengo límites, que estoy delineada y definida. Me siento a mi misma dispersarme en la atmósfera, pensando dentro de otras criaturas, viviendo dentro de cosas más allá de mi misma. Cuando de pronto me veo en el espejo, no me sobresalto porque me encuentre a mi misma fea o hermosa. Descubro, de hecho, que poseo otra cualidad. Cuando no me he visto a mi misma durante algún tiempo, casi olvido que soy humana, tiendo a olvidar mi pasado y me encuentro a mi misma con la misma liberación de propósito y consciencia como algo que apenas está vivo.” – Clarice Lispector, Cerca del Corazón Salvaje.  

Anexo Lulu se enorgullece de presentar la exhibición individual de la pintora Alemana, radicada en Berlín, Lea von Wintzingerode.

Lea von Wintzingerode hace pinturas figurativas que están marcadas por una aparentemente simplicidad ingenua, pero son de hecho meditaciones bastante sofisticadas sobre problemáticas de género, relaciones sociales, el ver, la historia de la danza y de la pintura misma. El imaginario en sus pinturas está inspirado ya sea en instantes específicos de la historia del arte, memorias o son enteramente imaginados, o finalmente, todas las anteriores. Parece casi existir en un espacio onírico de fantasía en el cual los encuentros sociales son caracterizados por una armonía ideal y paridad. Conscientes de ser vistas, las figuras actúan para el espectador, y como tal, incluyen al espectador, por lo tanto insinúan que el ver en sí mismo es, ambos, una forma de participación y una negociación activa, contrario a aquello de un consumo pasivo. Esta negociación activa se extiende al cómo están hechas las pinturas. Usando una gran cantidad de solvente, Wintzingerode rápidamente aplica pintura de óleo altamente diluida en gestos visibles que construyen un imaginario y espacio, mientras que nunca deja que se olvide que lo que se está viendo es una pintura, mediada por más de mil años de historia del arte, producción de imágenes y el ver. La relativa simplicidad y la ocasional torpeza con la cual están pintados los trabajos es deliberada, teniendo más que ver con la factura y la construcción que el desarrollo de un estilo específico. Si el trabajo alguna vez parece fantasioso, no es una fantasiosidad generada por darle la espalda al mundo, sino que es sobre tratar de imaginar uno futuro.

 Para su exhibición en el anexo Lulu, Wintzingerode vino a la Ciudad de México y produjo la exhibición entera en dos meses. Los trabajos responden al contexto en el cual están hechos, lidiando de manera variada con los escenarios íntimos y domésticos, los retratos o situaciones sociales. En la grande, pintura bucólica, Invitation, una mujer es vista invitando a otras dos figuras a un paseo, mientras un grupo de figuras se retozan al fondo en un abandono Breughelesquiano, y en Port de bras, dos mujeres son vistas aparentemente ayudándose la una a la otra, mientras sus contrapartes en el espejo reflejan un dueto participando en un paso de baile clásico. Basado en la conocida La Maja desnuda y La Maja vestida de Francisco Goya, el díptico, La Maja acostada y La Maja levantándose, que socavan la objetivación sentimental del original, mientras que le da un sentido activo (despertar) más allá que el pasivo ( dormido) presencia. Con todo esto dicho, aunque el trabajo está generalmente marcado por diferentes momentos de idealización, es también acechado por una inquietante cualidad fantasmagórica, como si las figuras no fuesen enteramente de este mundo. Las mujeres reunidas en Rendezvous, por ejemplo, están unidas por dos figuras fantasmales quienes por poco desaparecen en el fondo, mientras algunos de los bailarines en Departure son literalmente semi-transparentes, sin mencionar los aparentes pies incorpóreos arrastrándose en el casi monocromático Ronde de Jambe.


Lea von Wintzingerode (n. 1990, Bayreuth, Germany) vive y trabaja en Berlín. Una selección de exhibiciones individuales recientes incluye: Remember, Museum Burg Pottenstein, Pottenstein, Alemania (2018); This is My Fabrication, (performance), Halle für Kunst, Lüneburg, Alemania, Nearby Dark, (performance), The Convivio, Malmö, Suecia (2017); Lodge, Bianca D’Alessandro, Copenhague, Dinamarca (2016); Young Team, Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, Núremberg, Alemania (2015). A Una selección de exhibiciones grupales recientes incluye: The Shelter Hidden in the Eyes, (performance with Filipe Lippe), Deichtorhallen, Haus der Photographie, Hamburgo, Alemania (2018); Exhibition paintings, Merano Arte - Kunst Meran, Merano, Italia; Independence Day II, curada por Oriane Durand y Line Ebert, Sommer Gallery, Tel Aviv, Israel; 4 ROSES, (con Kamilla Bischof), Pantaleonsmuehlengasse, Colonia, Alemania (2017).

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“When I suddenly see myself in the depths of the mirror, I take fright. I can scarcely believe that I have limits, that I am outlined and defined. I feel myself to be dispersed in the atmosphere, thinking inside other creatures, living inside things beyond myself. When I suddenly see myself in the mirror, I am not startled because I find myself ugly or beautiful. I discover, in fact, that I possess another quality. When I haven't looked at myself for some time, I almost forget that I am human, I tend to forget my past, and I find myself with the same deliverance from purpose and conscience as something that is barely alive.” –Clarice Lispector, Near to the Wild Heart

Lulu annex is proud to present a solo exhibition of the German, Berlin-based painter Lea von Wintzingerode.  

Lea von Wintzingerode makes figurative paintings which are marked by an apparent, seemingly naive simplicity, but are actually quite sophisticated meditations on issues of gender, social relations, looking, the history of dance and painting itself. The imagery in her paintings is inspired either by specific instants in art history, memories, or are entirely imagined, or finally, all of the above. It seems to almost exist in an oneiric space of fantasy in which social encounters are characterized by an ideal harmony and parity. Aware of being watched, figures perform for the viewer, and as such, include the viewer, thereby imply that viewing itself is both a form of participation and an active negotiation, as opposed to that of passive consumption. This active negotiation extends to how the paintings themselves are made. Using a great deal of thinner, Wintzingerode rapidly applies highly diluted oil paint in visible gestures that build imagery and space, while never letting them forget that what they are looking at is a painting, mediated by over a thousand years of art history, image production, and looking. The relative simplicity and occasional awkwardness with which the works are painted is deliberate, having more to do with facture and constructed-ness than the development of a specific style. If the work ever seems fanciful, it is not a fancifulness borne of a turning away from the world, but rather about trying to imagine a future one. For her exhibition at Lulu annex, Wintzingerode came to Mexico City and produced the entire exhibition in two months. Works respond to the context in which they were made, dealing variously with intimate and domestic settings, portraiture or social scenarios. In the large, bucolic painting, Invitation, a woman is seen inviting two other figures to a stroll, while a group of figures cavort in the background with Breughelesque abandon, and in Port de bras, two women are seen apparently helping each other get dressed, as their mirrored counterparts reflect a duet engaged in a classical dance move. Based on Francisco Goya’s well known La Maja desnuda and La Maja vestida, the diptych, La Maja acostada, and La Maja levantándose, which undermine the sentimental objectification of the original, while investing her with a sense of active (waking up) rather passive (asleep) presence. All that said, although the work is generally marked by different moments of idealization, it is also haunted by an unsettling, phantasmagoric quality, as if the figures were not entirely of this world. The women gathering in Rendezvous, for instance, are joined by two phantasmal figures who all but disappear into the background, while some of the dancers in Departure are quite literally semi-transparent, to say nothing of the apparently disembodied feet shuffling along in the nearly mono-chromatic Ronde de Jambe

Lea von Wintzingerode (b. 1990, Bayreuth, Germany) lives and works in Berlin. A selection of recent solo exhibitions includes: Remember, Museum Burg Pottenstein, Pottenstein, Germany (2018); This is My Fabrication, (performance), Halle für Kunst, Lüneburg, Germany, Nearby Dark, (performance), The Convivio, Malmö, Sweden (2017); Lodge, Bianca D’Alessandro, Copenhagen, Denmark (2016); Young Team, Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, Nuremberg, Germany (2015). A selection of recent group exhibitions includes: The Shelter Hidden in the Eyes, (performance with Filipe Lippe), Deichtorhallen, Haus der Photographie, Hamburg, Germany (2018); Exhibition paintings, Merano Arte - Kunst Meran, Merano, Italy; Independence Day II, curated by Oriane Durand and Line Ebert, Sommer Gallery, Tel Aviv, Israel; 4 ROSES, (with Kamilla Bischof), Pantaleonsmuehlengasse, Cologne, Germany (2017). 


Michael Berryhill

A Life of its Own 

02/06 - 27/07

At La Maison De Rendez-Vous

Lulu is proud to present a two-part solo exhibition of the Texas-born, New York-based painter Michael Berryhill. This will be Berryhill’s first monographic exhibition in Belgium. 

Michael Berryhill is a painter who has been developing his own pictorial language for more than two decades. Thoroughly and organically balanced, his language is a crucible of color, imagery and technique. No single element can be removed without undermining the whole of what he makes. This is because the genesis of his vibrant, high-contrast imagery is indivisible from the application of his paint, whose dense building up, scumbling, and rubbing away create a sense of erosion as much as accrual. Although motifs often come from drawings, the imagery in his pictures is always a negotiation of what the painting wants, and is, as such, generated organically. This is why imagery is liable to fluctuate between figuration and abstraction, some times within the same painting, and why the work apparently dallies with process, but is not necessarily about process, or process-based abjurations of authorship. Berryhill is unmistakably the author of his works. And yet, like strange biological entities, they seem to not only possess a life that is entirely their own, but to be in a state of continual becoming or evolution. This is a byproduct of their dense, labored surfaces and their bright, preternaturally high-contrast palettes, which mutually give the impression of a surface inhabited by some kind of infusorial life form or a phosphorescent fungus. As such, his pictures lead you to suspect that they might change or evolve from one viewing to the next. They seem to exist, or be capable of existing independently of a viewer (which becomes an interesting argument for that old bugbear autonomy)– a position that has a lot less to do with denying the viewer than affirming painting, which possesses a life of its own.   
For the first part of Michael Berryhill’s exhibition, the artist will present a selection of “drawings” made over the course of the past five years. The second part of the show, featuring paintings, will inaugurate on Sunday, June 23rd.

Michael Berryhill (b 1972, El Paso, Texas) lives and works in New York. A selection of recent solo exhibitions include: (2017) a window, adore, Kate Werble Gallery, New York, NY; primitive.is.him, Galería Marta Cervera, Madrid, ES; (2016) Loony Tombs, Night Gallery, Los Angeles, CA. A selection of recent group exhibitions includes: (2018) Heat Brain, Derek Eller Gallery, New York, NY; Line and Verse, Andréhn-Schiptjenko, Stockholm, SE; (2017) Symbolisms, Cooper Cole, Toronto, ON; Pictography, Sperone Westwater, New York, NY; (2016) Go Figure, Van Doren Waxter, New York, NY; As if in a foreign country, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria; The Clear and the Obscure, Lulu, Mexico City, Mexico; Strange Abstraction, Fredericks & Freiser, New York, NY. He is currently preparing a solo exhibition at Night Gallery and his work will be featured in City Princess/es at the Palais de Tokyo, opening June 2019.