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NOW / COMING SOON
LA MUSÉE
Group show curated by Azad Asifovich with works by Sylvie Auvray, Joseph Beuys, Anne Deguelle, Helen Frankenthaler, Francesca Grilli, Ghazel, Sofie Muller, Lulu Nuti, Vera Röhm, Nina Roos, Kiki Smith and Hema Upadhyay.
11.05.2020 - 11.07.2020
GALERIE ITALIENNE, PARIS
MAY ITALIAN ART
Online charity sale to support ASIA NGO for Covid-19 Emergency in Italy and the artists, curated by Galleria Alessandra Bonomo and Giuliana Benassi with works by José Angelino, Franco dell'Erba, Michela de Mattei, federica di Carlo, Tristano di robilant, Domitilla Harding, Seboo Migone, Sabina Mirri, Lulù Nuti, Giorgio Orbi, Giuseppe Pietroniro, Baldassarre Ruspoli, Delfina Scarpa, Orsina Sforza and Fosco Valentini.
1.05.2020 - 1.06.2020
LINK TO THE CATALOGUE
LIMITED EDITIONS FOR pArt
An project by Maddalena Salerno with contemporary section curated by Ilaria Gianni
A Mani giunte to support the restoration of a Visitazione painting by Ippolito Borghese (Basilica della SS. Trinità, Piano di Sorrento, Napoli, Italy)
Tutto é uno to support the restoration of a Micromosaic Cross by Francesco Borromini (Museo di Santa Maria in Cappella, Rome, Italy)
POLE POLE
Group show curated by Caterina Antonaci with works by Giovanni Chiamenti, Malù Dalla Piccola, Yari Miele, Lulù Nuti, Gianluca Quaglia, Fabio Roncato, and Sebastiano Sofia.
MENHIR ARTE CONTEMPORANEA, Milano (it)
Postponed
Group show curated by Azad Asifovich with works by Sylvie Auvray, Joseph Beuys, Anne Deguelle, Helen Frankenthaler, Francesca Grilli, Ghazel, Sofie Muller, Lulu Nuti, Vera Röhm, Nina Roos, Kiki Smith and Hema Upadhyay.
11.05.2020 - 11.07.2020
GALERIE ITALIENNE, PARIS
MAY ITALIAN ART
Online charity sale to support ASIA NGO for Covid-19 Emergency in Italy and the artists, curated by Galleria Alessandra Bonomo and Giuliana Benassi with works by José Angelino, Franco dell'Erba, Michela de Mattei, federica di Carlo, Tristano di robilant, Domitilla Harding, Seboo Migone, Sabina Mirri, Lulù Nuti, Giorgio Orbi, Giuseppe Pietroniro, Baldassarre Ruspoli, Delfina Scarpa, Orsina Sforza and Fosco Valentini.
1.05.2020 - 1.06.2020
LINK TO THE CATALOGUE
LIMITED EDITIONS FOR pArt
An project by Maddalena Salerno with contemporary section curated by Ilaria Gianni
A Mani giunte to support the restoration of a Visitazione painting by Ippolito Borghese (Basilica della SS. Trinità, Piano di Sorrento, Napoli, Italy)
Tutto é uno to support the restoration of a Micromosaic Cross by Francesco Borromini (Museo di Santa Maria in Cappella, Rome, Italy)
POLE POLE
Group show curated by Caterina Antonaci with works by Giovanni Chiamenti, Malù Dalla Piccola, Yari Miele, Lulù Nuti, Gianluca Quaglia, Fabio Roncato, and Sebastiano Sofia.
MENHIR ARTE CONTEMPORANEA, Milano (it)
Postponed
SELECTED SOLO SHOWS
2018 Calcare il Mondo, GALERIE CHLOE SALGADO, Paris
2018 More, Galerie Mansart, curated by Azad Asifovich, Paris, France
2015 Sistema, Case Romane del Celio (site-specific solo show),curated by Carlotta Monteverde, Roma, Italy
2014 Territoirs Perdus, géolocalisation, Galerie Tokonoma, Paris, France
SELECTED GROUP SHOWS
2020 THE MILKY WAY 5 - Group show curated by Damiana Leoni, promoted by Pianoterra Onlus, Galleria Franco Noero, Torino, Italy (catalogue)
2020 A CURATED COLLECTION, Group show curated by Catharina Herold, Galerie Herold, Sylt, Germany
2019 Private Choice - ephemeral contemporary collection of art and design in a historic apartment, curated by Nadia Candé, Paris, France
2019 Mirabilia Urbis, project by Artq13 curated by Giuliana Benassi, Campo de' fiori and Around, Roma, Italy (catalogue)
2019 État des Lieux, curated by Lucie LeBouder and Alexane Morin, La Vallée, Bruxelles, Belgium
2019 Point Zéro, with Léa Dumayet, Mara Fortunatovic, Katya Ev, Joana Zimmermann, Galerie Chloé Salgado, Paris, France
2019 Living in Chtulucene, with Pietro Ruffo, Luca Pozzi, Donato Piccolo, Rä di Martino and Alessandro Twombly, curated by Valentino Catricalà, Istituto Italiano di Cultura, New Delhi, India
2018 Une histoire de tout, curated by Lisa Eymet, Villa Belleville, Paris, France
2018 MFW - Nouvelle Collection Paris, Collection Croisière 2019, curated by Sarah Nefissa Belhadjali, La panacée-MoCo, Montpellier, France
2018 PART 1, with Delfina Scarpa, Balsassarre Ruspoli and Simone Pappalardo, curated by Teodora Di Robillant, Galleria Alessandra Bonomo, Roma, Italia
2017 Rob à Robe , Nouvelle Collection SS17 by Sarah Nefissah Belhadjali, DOC! Paris, France
2016 Fail Better, Revue Composition, curated by Dorothée Davoise and Sophie Gaucher, Galerie OFR, Paris, France
2016 A LINEA Site-specific project at Courbevoie,with Mara Fortunatovic,Quentin Lefranc et Lucie Le Bouder, curated by Catégorie_Arts, Courbevoie (Paris), France
2016 FRAGILE, curated by Jean-Luc Blanc et Azad Asifovich, Galerie Mansart, Paris, France
2014 Biennale du Dessin, curated by Emmanuelle Brugerolles, Gilgian Gelzer, Bernard Moninot, Cité Internationale des Arts, Paris, France (catalogue)
2014 Attractions, duo show with Sandra Plantiveau, curated by l'Atelier Blanc, Galerie Sainte Catherine, Rodez, France
2013 Le Temps d'une Ruine with Charlotte Boutron, Joana Zimmerman, Anne-Charlotte Finel and Léonore Aberdam, curated by Lulù Nuti and Charlotte Boutron, La Maison des Ensembles, Paris, France
2012 Fairy Tale, Biwako Biennale, curated by Yoko Nakata, Omihachiman, Shiga, Japan (catalogue)
+ DUO LU.PA (duo with Pamela Pintus)
2019 VACANZA, Teletransport Holidays, inside MAKER ART, curated by Valentino Catricalà, MAKER FAIRE - The European Edition, Roma
2019 MICROCOSMO group show curated by Antonio Trimani e Monica di Gregorio, Palazzo Doria Pamphilj, Valmontone, Italy
2018 SANS TITRE (ZADKINE), performance commissioned by Azad Asifovich and Noëlle Chabert inside the show "The Instinct of Matter" , Musée Zadkine, Paris
2018 NODUM, project inside Apulia Land Art Festival, Casa Rossa, Alberobello, Italy
2018 PARLA, performance for AROUND I HERE , ASTRA VOL.I, Spoleto, Italy
2018 OLO #1 Spazio Y, Rome, Italy
RÉSIDENCIES
2018 Villa Belleville, Paris, France
2017 BOC'S, Residency curated by Alberto D'Ambruoso and Annalisa Ferraro, Cosenza, Italy
2017 The Owner's Cabin, Cielo d'Italia, Atlantic Ocean
2017 Bikini Art Residency, Lake Como, Italy
2014 La Résidence, Dompierre-sur-Besbre, France
2012 Biwako Biennale, Omihachiman, Shiga, Japan
AWARDS
2015 Finalist - Prix Dauphine pour l'Art Contemporain, Université Paris-Dauphine, Paris, France
2013 Special Jury Prize - Prix de la jeune création de Saint-Rémy, France
2011 Sélection Under 25 - Premio Arte Laguna, Venice, Italy
EDUCATION
2007-2012 Ecole Nationale Supérieure des Beaux Arts de Paris, Atelier Elsa Cayo
2011 Traineeship in weaving, Malhia Kent, Paris, France
2012 Traineeship in whrought ironwork, Ferronnier d'Art Pierre Dupont, France
1995-2003 Copy and painting, La Porta Blu, Rome, Italy
PRESS and BIBLIOGRAPHY
"Portrait of a young artist : Lulù Nuti", HEROLDIAN JOURNAL, issue n.1, 2020 (en)
THE MILKY WAY 5, catalogue, Ed. CURA, 2020 (it)
Mitrabilia Urbis, catalogue, Ed. Viaindustriae, 2019 (it-en)
FIVE QUESTIONS FOR LULÙ NUTI, FORMEUNICHE, 2019 (it)
MORE, Paris-Art, 2018 (fr)
PART 1, Ludovico Pratesi, Exibart, 2018 (it)
PART 1, Federica Soldati, Exibart, 2018 (it)
Revue Profane n°6, BOA published inside “Prêts à porter”, Photographies Laurent Champoussin, texte de Gabrielle Smith, 2018 (fr)
PART 1, Galleria Alessandra Bonomo, Artecracy,2017 (it)
29 Days at Sea, the floating artist's studio, interview for Lightfoot Travel, Claire Turrell,2017 (en)
The owner's cabin, si conclude la terza residenza a bordo di una nave, Insideart,2017 (it)
Il Sistema in equilibrio di Lulù Nuti, Donato Di Pelino, Artapartofculture, 2016 (it)
Sistema di Lulù Nuti : interrogare il passato, progettare il futuro, Cabette, 2016 (it)
Réserves : Dessin d'une métamorphose, Chaima Ben Haj Ali, Catégorie_Arts, 2015 (fr)
Lulù Nuti : ce qui nous regarde, Chaima Ben Haj Ali, Catégorie_Arts, 2015 (fr)
Biennale du Dessin, catalogue, Ed.Beaux Arts de Paris, 2014 (fr)
Diplômés 2012, catalogue, Ed.Beaux Arts de Paris, 2013 (fr)
Le Temps d'une Ruine, une exposition de Lulù Nuti et Charlotte Boutron, Francesco Romanello, 2013 (fr)
Premio Arte Laguna V, catalogue, 2011 (it)
+ LUPA
Intervista con LU.PA - OLO o della danza del tutto, ATPDIARY, 2018
Dialogues #2 OLO o della danza del tutto, Carmelo Cipriani, 2018
(...)Brought up by the first images of Earth seen from space taken by NASA in 1972 and the successive discoveries of so-called livable planets, she took note of the Copernican revolution operating at the time thefamous Blue Marble Shot was published. Cradled by the blockbuster films starring images of an exploding Earth, she wondered about future habitable places. Who are the colonizers of the universe ? How do astronauts go about exploring the world ? She provides them with portable matrices from our planet Earth to take to Mars and Pluto, like souvenirs or models. This gesture, poetic and absurd, is illusory and more like an intellectual speculation rather than a pragmatic solution.
Child of the Chernobyl generation, Lulù has been intimately marked by the disasters of the end of the century : nuclear accidents, the AIDS epidemic, global warming and the migration crisis. While the phenomena that she witnesses transcend borders and are intrinsically international, she questions how to define their forms and limits. From which follows a reflection on contamination, propagation and its consequences: cartography.
Child of the Chernobyl generation, Lulù has been intimately marked by the disasters of the end of the century : nuclear accidents, the AIDS epidemic, global warming and the migration crisis. While the phenomena that she witnesses transcend borders and are intrinsically international, she questions how to define their forms and limits. From which follows a reflection on contamination, propagation and its consequences: cartography.
JEANNE BARRAL, CALCARE IL MONDO, GALERIE CHLOE SALGADO, 2018
Lulù Nuti works across a number of different mediums from paper, charcoal, wood, metal, plaster and concrete, playing with notions such as time and space through the carefully orchestrated placement of natural and industrial materials.
While Nuti continues to work both in two and three dimensions, in recent years it has been her site-specific installations that have been the driving force of the artist's practice and has resulted in Nuti living an increasingly nomadic lifestyle dictated by the location of her work.
A constant for the artist, whether creating delicate works on paper or multi sculptural installations, is her strong belief that all materials embody inherent energies that serve as vehicles through which we are able to access a more infinite understanding of the universe, not only in the present but also in the past and the future. It is with this in mind that she creates work that explores and plays with balance and heightened tension between various objects and forms, tapping into the latent energy she sees imbued in all things and placing them in conversation with once another as well as their setting.
Over and over again Nuti’s work appears to stretch the limitations and expectations the viewer has towards the various materials and artistic forms that she employs. In this way, she blurs the line between usually defined categories such as drawing and sculpture, and instead presenting the viewer with something that sits between.The result is work that constantly surprises and with a unique poetic dynamism she encourages in the viewer to look, think and feel again. In many ways, one could think of her work in terms of performance, not of the work itself, but when activated through viewing, as it is only at this point within a in space that the work is triggered and the energy of the materials harnessed by the artist is relayed, experienced and internalized by the viewer.
While Nuti continues to work both in two and three dimensions, in recent years it has been her site-specific installations that have been the driving force of the artist's practice and has resulted in Nuti living an increasingly nomadic lifestyle dictated by the location of her work.
A constant for the artist, whether creating delicate works on paper or multi sculptural installations, is her strong belief that all materials embody inherent energies that serve as vehicles through which we are able to access a more infinite understanding of the universe, not only in the present but also in the past and the future. It is with this in mind that she creates work that explores and plays with balance and heightened tension between various objects and forms, tapping into the latent energy she sees imbued in all things and placing them in conversation with once another as well as their setting.
Over and over again Nuti’s work appears to stretch the limitations and expectations the viewer has towards the various materials and artistic forms that she employs. In this way, she blurs the line between usually defined categories such as drawing and sculpture, and instead presenting the viewer with something that sits between.The result is work that constantly surprises and with a unique poetic dynamism she encourages in the viewer to look, think and feel again. In many ways, one could think of her work in terms of performance, not of the work itself, but when activated through viewing, as it is only at this point within a in space that the work is triggered and the energy of the materials harnessed by the artist is relayed, experienced and internalized by the viewer.
ALICE RUSSOTTI, 2017
TEMPO è la mostra personale di fine Residenza, dal 13 settembre al 18 ottobre presso l’Espace Boudeville a Dompierre-sur-Besbre, di Lulù Nuti, giovane scultrice italo-francese che vive e lavora tra Roma e Parigi, con cui abbiamo in programma, nel 2015, una grande mostra a Roma.
Con questo progetto, l’artista indaga la percezione simultanea dello spazio e del tempo, il suo relativismo, le metamorfosi della materia. Il ricordo, il viaggio, aprendosi alla collaborazione creativa della cittadinanza nella realizzazione dell’ultima opera, Composition/Décomposition.
La ricerca si ricollega all’indagine precedente sulla trasfigurazione degli elementi, caratterizzata da forme in bilico tra organico ed industriale, ma rispetto ad opere come Socle végétal/socle animal (2013) o ai lavori presentati alla Biwako Biennale di Shiga in Giappone nel 2012, in cui ogni forma è come un fermo immagine su un oggetto in mutamento, l’istante dopo l’inizio della magia e l’istante prima che abbia compiuto il suo ruolo (Lulù Nuti), oggi la conversione è avventua, e si manifesta in sculture “durevoli”, dove l’inizio e la fine si fronteggiano, anzichè convertirsi l’uno nell’altro.
Altra tematica presente in mostra, anche se non preponderante, ed intesa nel senso di chimica, di fissità della materia, più che di fisica, è l’equilibrio. Riporto ancora le parole di Lulù, per chiudere questa breve introduzione: l’equilibrio è un momento di grazia cristallizzato in un ordine fragile e potenzialmente infinito; l’istante eterno in cui qualcosa si arresta in una posizione sorprendente minacciando in continuazione la sua stessa fine.
Con questo progetto, l’artista indaga la percezione simultanea dello spazio e del tempo, il suo relativismo, le metamorfosi della materia. Il ricordo, il viaggio, aprendosi alla collaborazione creativa della cittadinanza nella realizzazione dell’ultima opera, Composition/Décomposition.
La ricerca si ricollega all’indagine precedente sulla trasfigurazione degli elementi, caratterizzata da forme in bilico tra organico ed industriale, ma rispetto ad opere come Socle végétal/socle animal (2013) o ai lavori presentati alla Biwako Biennale di Shiga in Giappone nel 2012, in cui ogni forma è come un fermo immagine su un oggetto in mutamento, l’istante dopo l’inizio della magia e l’istante prima che abbia compiuto il suo ruolo (Lulù Nuti), oggi la conversione è avventua, e si manifesta in sculture “durevoli”, dove l’inizio e la fine si fronteggiano, anzichè convertirsi l’uno nell’altro.
Altra tematica presente in mostra, anche se non preponderante, ed intesa nel senso di chimica, di fissità della materia, più che di fisica, è l’equilibrio. Riporto ancora le parole di Lulù, per chiudere questa breve introduzione: l’equilibrio è un momento di grazia cristallizzato in un ordine fragile e potenzialmente infinito; l’istante eterno in cui qualcosa si arresta in una posizione sorprendente minacciando in continuazione la sua stessa fine.
CARLOTTA MONTEVERDE, 2014
Parmi les différents univers d’artistes qu’on rencontre ou qu’on découvre, se trouve toujours un univers qui nous bouleverse pour une raison ou pour une autre, un univers qui infirme nos appréhensions ou bouscule nos sens. Lulù Nuti fait partie de ces artistes à l’univers auratique. Ses œuvres s’imposent à nous et prennent place, leur place, dans notre espace de spectateur. Quand nous sommes face à eux, nous partageons leur ici et maintenant, et c’est alors que l’expérience commence.
De prime abord, Lulù Nuti semble emprunter la maxime tautologique du minimalisme, déclarée par Donald Judd dans son manifeste publié en 1965 : « what you see is what you see ». Cependant, elle y recourt pour dénoncer cette vision simpliste du monde considérée par George Didi-Huberman comme étant un processus réducteur qui condamne le sujet à ne vouloir rien voir d’autre au-delà de ce qu’il voit présentement dans l’expérience perceptive. Dans ses installations, tout est là, dans la mesure où celles-ci ne rejouent aucune présence supposée ailleurs. Une fois libéré de cette charge imposée par la quête du sens, le spectateur s’immerge dans l’expérience.
Tel est le cas dans l’œuvre Irréversible. Cette dernière imprime le passage du temps noir sur blanc en rappelant aux spectateurs une des réalités les plus évidentes : l’action du temps et de son impossible réversibilité. A l’heure où toutes les avancées techniques et médiatiques proposent la possibilité de contrôler la temporalité d’une expérience comme le fait d’annuler ou d’effacer des actions sur un ordinateur, de revoir une vidéo ou de réécouter une musique, cette œuvre dessine son écoulement et le remet dans sa linéarité. Le temps c’est le présent comme conséquence du passé et l’avenir comme conséquence du présent. Mais serait-ce là tout ce que cette œuvre a à nous offrir ? Que cherche-t-elle à nous communiquer ou dire ? Et si finalement, dans son univers, Lulù Nuti questionnait la part latente confinée dans l’objet d’art ? (...)
CHAIMA BEN HAJ ALI "CE QUI NOUS REGARDE", 2015
Que l’on soit obligé de dérouler patiemment, comme de vieux manuscrits, les grands dessins au fusain et au pastel de Lulù Nuti n’est en aucun cas anodin. Ses Visions nocturnes parlent en effet du voyage et du temps, celui de la contemplation et du déplacement du corps dans un espace mouvant[1]. Les paysages vibrants qui sont à l’origine de ces œuvres rappellent ceux que l’on voit derrière nos propres cils au moment où l’ensommeillement nous gagne, à bord de trains où défilent images et lumières derrière la vitre. Un point, cependant, semble ne jamais discontinuer : la ligne d’horizon, qui relie tous les dessins entre eux dans l’espace.
La recherche de cet infini irreprésentable que matérialise l’horizon parcourt les travaux de l’artiste, avec Ni le début Ni la Fin, sculpture mêlant matériau naturel et industriel ; mais, de la poutre ou du béton, qui pourra se vanter de perdurer jusqu’à une hypothétique fin ? Rappelant les réflexions sur la temporalité du végétal et du minéral de Giovanni Anselmo, les œuvres de Lulù Nuti insistent toutefois sur la mélancolie de la finitude de toute chose ; et l’humain, bien que jamais représenté, n’est jamais loin.
Horizon place la ligne – mathématiquement infinie –, ici délinéée au fusain, entre deux parenthèses hésitantes de fer forgé. Pour Nature morte, la fragilité de fleurs coupées se dessine dans la trace légère qu’elles ont imprimé sur du béton. Et dans sa balance donnant forme à la célèbre interrogation d’écoliers sur le kilogramme de plumes et celui de plomb, la fragilité de l’ensemble, en dépit de son évidence visuelle, menace à tout instant le précieux équilibre.
Le travail de Lulù Nuti n’est ni triste ni sombre, mais il est grave. Dans ses dernières sculptures, ce sont les plumes et les feuilles mortes qui tiennent lieu de socle à du béton moulé, une autre façon d’apprendre à réévaluer le poids des choses.
[1] Peut-être Lulù Nuti souhaite-elle donner vie aux mystérieuses visions nocturnes du célèbre Jeune homme triste dans un train (1911) de Marcel Duchamp ?
La recherche de cet infini irreprésentable que matérialise l’horizon parcourt les travaux de l’artiste, avec Ni le début Ni la Fin, sculpture mêlant matériau naturel et industriel ; mais, de la poutre ou du béton, qui pourra se vanter de perdurer jusqu’à une hypothétique fin ? Rappelant les réflexions sur la temporalité du végétal et du minéral de Giovanni Anselmo, les œuvres de Lulù Nuti insistent toutefois sur la mélancolie de la finitude de toute chose ; et l’humain, bien que jamais représenté, n’est jamais loin.
Horizon place la ligne – mathématiquement infinie –, ici délinéée au fusain, entre deux parenthèses hésitantes de fer forgé. Pour Nature morte, la fragilité de fleurs coupées se dessine dans la trace légère qu’elles ont imprimé sur du béton. Et dans sa balance donnant forme à la célèbre interrogation d’écoliers sur le kilogramme de plumes et celui de plomb, la fragilité de l’ensemble, en dépit de son évidence visuelle, menace à tout instant le précieux équilibre.
Le travail de Lulù Nuti n’est ni triste ni sombre, mais il est grave. Dans ses dernières sculptures, ce sont les plumes et les feuilles mortes qui tiennent lieu de socle à du béton moulé, une autre façon d’apprendre à réévaluer le poids des choses.
[1] Peut-être Lulù Nuti souhaite-elle donner vie aux mystérieuses visions nocturnes du célèbre Jeune homme triste dans un train (1911) de Marcel Duchamp ?
CAMILLE PAULHAN / CATALOGUE DES DIPLÔMÉS 2012 / ÉD. DES BEAUX ARTS DE PARIS,2013