Malas Madres


Lulu, Mexico City 

Sept 26 – Nov 11, 2019 

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Press Release

Known for vibrant high-heeled figures, explosive palette and multimedia production, Culprit is taking a much more reduced approach to the material component of the exhibition at Lulu. The show revolves around a new body of work developed over the summer in a mountain setting. The exhibition sees the artist further developing their specific pictorial vocabulary with a striking material economy which does anything but diminish the dramatic impact of the work.

Using nothing more than home-made charcoal on  unprimed canvas, Culprit creates a fantastical natural world inhabited by seemingly urban, nocturnal chimeras or trickster wood sprites. These masked, high-heeled figures elliptically lurk, elastically cavort and all but dissolve into their arboreal surroundings, (in)organically collapsing the boundary between the human and non-human in an elegant tangle of lines. Clearly performing (a quality aided by their quasi-mural-sized scale), they seem to fluctuate between wanting to seduce or terrify, irresistibly inviting the viewer to enter their  fluid wilderness.

Despite the material simplicity of the work, it nevertheless writhes and roils, thanks to the artists bold and confident mark making, with a patent formal opulence and feverish energy. Here desire and being become a splendidly knotted and strangely shaped thing.


Digital Mourning, curated by Roberta Tenconi, is the first major solo exhibition devoted to Neïl Beloufa in an Italian institution, and it stems from a reflection on the current times and on the concept of life in our digital world. Right from the title, the exhibition alludes to one of the most striking paradoxes of contemporary society, which is the existence in a technological world and its parallel disappearance. Pirelli HangarBicocca, Milan
Clima Gallery, Milan
The Douglas Hyde Gallery, Dublin
CRAC Occitanie/Pyrénées-Méditerranée, Sète
Eugster || Belgrade, Belgrade
Istituto Svizzero, Rome
Tanya Leighton, Berlin