Tom Allen

Là-bas

06/07 - 17/08

 (scroll down for English) 

Lulu se enorgullece de presentar una exhibición individual del pintor radicado en Los Ángeles, Tom Allen.

Tom Allen hace pinturas figurativas de una inusual naturaleza excesiva. Porque la naturaleza, por así decirlo, que él representa, es plena y completamente excesiva, al punto de ser antinatural. Inspirándose en la pintura y literatura francesa de fin de siglo, como Éduoard Vuillard y Gustave Moreau, las novelas de J.K. Huysmans, así como los objetos Art Nouveau de Louis Comfort Tiffany y René Lalique, Allen sintetiza este marco de referencia con todo, desde la iconografía alucinatoria de la contra-cultura post 60’s, hacia un interés en el misticismo y el Death Metal, todo a un efecto óptico angustiante. Tan cuidadosamente confeccionadas como lo están saturadas con un matiz botánico, las pinturas generalmente de pequeña escala son un derivado de una maniaca indagación del color, forma y espacio. Ellas demuestran una extraña técnica a la par con aquella de los maestros flamencos de la naturaleza muerta, digamos, Chardin, mientras no obstante testifican a la invención pictórica de complejos mundos enteros. En este trabajo, según el simbolismo histórico, la naturaleza asume una meticulosa revisión artificial. Infernal, magnificente, y presumiblemente tóxica, ella, la naturaleza, es, si no idealizada, entonces fetichizada, de la manera que, por decir, las películas de horror pueden fetichizar la noche. Finalmente, las explosivas atmósferas de otro mundo y texturas descritas en sus imágenes parecen ser habitables solamente en sueños, pesadillas o fantasías. 

Para esta exhibición en Lulu, Allen presentará un conjunto de seis nuevas pinturas de flores. Todas pintadas en el último año, ellas representan un nuevo nivel de compromiso, detalle y calidad en el trabajo del artista. Es como si él se hubiese sumergido aún más adentro en el universo que ha creado, zambulléndose aún más en sus profundidades ctónicas. En Mirrors (South of Heaven), 2019, un par de lívidas orquídeas rosas flotan en frente de un espacio lujosamente estampado, mientras que en Passiflora, 2018, una furiosa pasiflora roja y sus densamente entretejidos alrededores, pulsan con ráfagas internas de luz.

Tom Allen (n. 1975, Springfield, Massachusetts) vive y trabaja en Los Ángeles. Exhibiciones individuales recientes incluyen: (2017) The Lovers, Bel Ami, Los Ángeles. Exhibiciones grupales recientes incluyen: (2019) Dreamhouse vs. Punkhouse, Serious Topics, Inglewood, CA; (2017) Symbolisms, Cooper Cole, Toronto; Witch-Ikon, Mortlake & Company, Seattle; Therianthropy, Laura Bartlett Gallery, Londres; Ruins In the Snow, High Art, París; (2016) A Change of Heart, Hannah Hoffman Gallery, Los Ángeles; Outside, MiM Gallery, Los Ángeles. Actualmente está trabajando para una presentación individual para FIAC, la cual abre en octubre de 2019. Su trabajo puede ser encontrado en la colección permanente del Museo de Arte Contemporáneo, Los Ángeles, la Sweeney Gallery de la Universidad de California, Riverside y en numerosas colecciones privadas.

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Lulu is proud to present a solo exhibition of the Los Angeles-based painter Tom Allen. 

Tom Allen makes figurative paintings of an unusually excessive nature. For the nature, so to speak, that he depicts is thoroughly and completely excessive, to the point of being unnatural. Drawing upon French fin-de-siècle painting and literature, such as Éduoard Vuillard and Gustave Moreau, the novels of J.K. Huysmans, as well as the Art Nouveau objects of Louis Comfort Tiffany and René Lalique, Allen synthesizes this frame of reference with everything from the hallucinatory iconography of post 60s counter-culture to an interest in mysticism and Death Metal, all to optically harrowing effect. As carefully crafted as they are saturated with botanical nuance, Allen’s generally small-scale paintings are the byproduct of a maniacal inquiry into color, form and space. They demonstrate an uncanny skill on par with that of Flemish still life masters or, say, Chardin, while nevertheless testifying to the pictorial invention of whole complex worlds. In this work, as per historical symbolism, nature assumes a thoroughly artificial revision. Infernal, magnificent, and presumably toxic, it, nature, is, if not idealized, then fetishized, the way, say, horror movies might fetishize the night. Finally, the explosive, otherworldly atmospheres and textures described in his pictures seem to be inhabitable only in dreams, nightmares or fantasy. 

For his exhibition at Lulu, Allen will present a suite of six new flower paintings. All painted in the last year, they represent a new level of commitment, detail and quality in the artist’s work. It’s as if he has gone even deeper into the universe he has created, plunging further into its chthonic depths. In Mirrors (South of Heaven), 2019, a pair of livid pink orchids floats in front of lavishly patterned space, while in Passilfora, 2018, a furious red passionflower, and its densely interwoven surroundings, pulsate with internal bursts of light. 

Tom Allen (b. 1975, Springfield, Massachusetts) lives and works in Los Angeles. Recent solo exhibitions include: (2017) The Lovers, Bel Ami, Los Angeles. Recent group exhibitions include: (2019) Dreamhouse vs. Punkhouse, Serious Topics, Inglewood, CA; (2017) Symbolisms, Cooper Cole, Toronto; Witch-Ikon, Mortlake & Company, Seattle; Therianthropy, Laura Bartlett Gallery, London; Ruins In the Snow, High Art, Paris; (2016) A Change of Heart, Hannah Hoffman Gallery, Los Angeles; Outside, MiM Gallery, Los Angeles. He is currently at work on a solo presentation for FIAC, opening October 2019. His work can be found in the permanent collection of the Museum of Contemporary Art, Los Angeles, the Sweeney Gallery at the University of California, Riverside, and in numerous private collections. 



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.