Estrid Lutz French, b. 1989

Overview

Estrid Lutz is a French artist born 1989 living and working in Puerto Escondido - Oaxaca Mexico.

Lutz’s earliest artistic works could be seen as violent explorations of the surfaces where human interaction with non-human occurs, and effect takes place. All artworks embody her reoccurring interest in the concepts of the natural and the technological, often finding emotional or empathetic connections as well as physical touch-points between the two.

 

In 2018, Lutz was included in Crash Test: the molecular turn at La Panacée, Montpellier, curated by the esteemed curator Nicolas Bourriaud, known for his work with relational aesthetics. The exhibition text stated: “The art of the 2010s seems to have integrated the notion of the Anthropocene, which designates an era dominated by human activities and their impact on the planet.”

 

Crash Test: the molecular turn, a title inspired by Lutz’s work, identified her as an artist as moving past binary dichotomies of ‘real’ and ‘digital’, ‘natural’ and ‘artificial’, and aligned her with established contemporaries including Alice Channer, Roger Hiorns, and Artie Vierkant. However Lutz also sees things the other way around, she explores not only our post-digital condition through an anthropogenic lens but how much of human technology is informed by nature. Her use of aluminum honeycomb, a material commonly used for the construction of satellites is an obvious example.

 

Since 2018, Lutz has lived and worked in Puerto Escondido, Oaxaca, Mexico where she found the perfect environment to develop her work in by observing the rough natural environment of Zicatela, one of the most dangerous surf beaches in the world.

 

In Puerto Escondido, Lutz has continued her research into biological organisms and ecosystems, and how humans and their technological materials are inspired by, interact with, and have an effect on these. Several experiments have had a direct relationship with the waves and beach: A hands-on approach that tests the boundaries of what’s possible.

 

Explorations include being flown over the waves and between whirlwinds in an Ultralight Aircraft to drop drawings and flowers into the ocean, having artworks taken out to sea on her behalf and documented in the pipelines, and burying the edges of large lenticular, photo-luminescent, and sun-sensitive works in the sand.

 

Lutz’s practice embodies the blurring of dichotomies, investigating the interactions between the human-technological (science, polystyrene, aircraft) on the one hand, and the forces of nature on the other (pipelines, whirlwinds, animals) with sensitivity to emotional communication. In face of something more powerful than us, what is the significance of dropping flowers into giant waves?

 

During the pandemic, with the beach closed and few tourists, Lutz witnessed Puerto Escondido become a place for the non-human again. Turtles and crocodiles came back in abundance, hundreds covered the sand that for decades has been a place dominated by towels, sun-blocked bodies, and plastic toys in varied shapes and sizes.

In her work, Estrid continues to question the empathetic relationship, gratitude, and respect for the non-human that we have the capacity for while embracing our fantastical drive for technological advancement. She acknowledges wholeness or inclusion inherent to our deep interconnectedness while not ‘returning to nature’, rather including it in progressive, expansive development.

Works
Exhibitions
Art Fairs
Press
CV

2020 

Subsurfaces-seabeds - DoubleV Gallery, Marseille (Solo show)

Jardins Partagés - Magasins Généraux, Paris (Solo show)

 

2019

Moco-La Panacée- Montpellier FRThe Body of Tears curated by Nicolas Bourriaud (Solo show)

Toxins - Future Gallery, Berlin (Solo show)

 

2018

Should I resist? - Jelato Love, Palma de Mallorca (Solo show)

Hash Through - Kunstverein Arnsberg, Arnsberg (Solo show)

 

2017

The Retinal Afterglow - Future Gallery,Berlin (Solo show)

Hard to explain ,Future Gallery, Berlin
Narcose, Galerie H.L.M., Marseille
Afterbirth of a Dream, Meetfactory, Praha
Felicità, Palais des Beaux Arts, Paris

 

2016

The Composing Rooms - Project Spacedirected by Che Zara Bloomfeld,

Berlin (Solo show)

From Transhuman to South Perspective, Rowing
Projects London
Dog piss protection board, Beijing

 

2019

XYXX010101000 Galeria Curro, Guadalajara - curated by Dorothée Dupuis (Solo show)
Biotechnosphere, Tranen Copenhagen - curated by Toke Lykkeberg (Solo show)
Swamp Horses, Spirit Vessel, Espinavessa (Solo show)
Unsupported Message Format - Galerie Valeria, Cetaro , Paris (Solo show)
Transnatura - Galerie 22,48m2 Paris (Solo show)
This Placement - Mexico City (Solo show)
Ants and Elephants - Kunstverein Arnsberg (Solo show)

 

2018
Crash Test - La révolution moléculaire, La Panacée - curated by Nicolas Bourriaud, Montpellier (Solo show)

 

2015

Everything You Need To Bring Bathrooms To A Shine - Galerie Deborah Bowmann, Brussels
It has never been so fluo - Supermarket Gallery, Budapest
The Wrong - New Digital Art Biennale, Muséo del Chopo
An extra collision - curated by Emanuele Guidi, Arge/Kunst, Bolzano
Adobe Climax - curated by PostNorma, Amsterdam

 

2014
HyperSalon Miami - Postmasters Gallery, Fondations
Lafayette Paris - produced by Transfer Gallery & Xpo
Gallery, Miami, FL
a Sip of Cool - Oracular / Vernacular, La GAD, Marseille
VNGRAVITY2 - Gallery Online, Mexico City
Try to forget - Rat Factory Gallery, Los Angeles, CA

 

Residencies

 

2020

en cours CIRVA (Centre International de Recherchesur le Verre et les Arts Plastiques), Marseille

 

2019

MO.CO Montpellier Contemporain

 

2018

CASA WABI - Mexico _Nicolas Bourriaud post Molecular Turn Programme

 

2016-2018

Les Ateliers de la Ville de Marseille

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