Collector Eugenio López Alonso on his museum’s tenth anniversary and Mexico Metropolis’s rising profile within the artwork world

Museo Jumex, a serious engine in Mexico Metropolis’s transformation into a recent artwork hub, is celebrating its tenth anniversary with programming that features the group exhibition Every part Will get Lighter, curated by Lisa Philips, the director of New York Metropolis’s New Museum, and the upcoming first survey of Damien Hirst’s work at a Mexican establishment. Philips’s exhibition traces the three-decade amassing journey of the museum’s founder, Eugenio López Alonso.

The group present options works by 67 artists from the Colección Jumex equivalent to Gentle and Area icons James Turrell, Mary Corse and Dan Flavin, portray giants Gerhard Richter and Robert Rauschenberg, and key Latin American figures like Ana Mendieta, Damián Ortega and Ernesto Neto. Its title is taken from a poem by John Giorno, whose rainbow-hued portray Everybody Will get Lighter (2015) can be represented within the present, and closes on 11 February—simply because the twentieth version of the Zona Maco honest wraps up.

López credit a 1995 go to to the Saatchi Gallery’s Boundary Street area with sparking his want to open an identical establishment in his native nation.“If folks have been coming to an previous manufacturing unit on the outskirts of London, they might come to mine in Ecatepec,” he says. “A motivation to gather worldwide artists” was a part of his imaginative and prescient from day one; he began connecting with sellers and employed Patricia Martin as his first curator.

When a 15,000 sq. ft area, designed by Gerardo García, opened on the premises of López’s household enterprise Grupo Jumex within the early 2000s, some members of the general public have been baffled by its distance from Mexico Metropolis and the founder’s willpower to mix worldwide up to date artwork with native names. “We thought no person would come however they did,” he says. With a programme of two exhibits per yr, the commercial area grew to become a novel artwork hub and vacation spot.

López had caught the patronage bug and had greater ambitions. “I advised my father I needed an area in downtown Mexico Metropolis and I needed to rent a global architect as a result of there have been no buildings by non-Mexicans round on the time,” he says. He fashioned an instantaneous bond with the British architect David Chipperfield throughout their first assembly, and Chipperfield was quickly commissioned to develop the Fundación Jumex Arte Contemporáneo’s subsequent chapter. The founder’s solely request was to verify pure gentle entered every ground of the constructing. “Once I realized he gained the Pritzker Prize, I used to be shocked as a result of for first time the winner of such a prize would have a constructing in Latin America,” he says.

The 17,000 sq. ft constructing opened in autumn 2013 as a part of the Plaza Carso, the place one other Mexican businessman, Carlos Slim, has his Fernando Romero-designed Museo Soumaya. Positioned in Mexico Metropolis’s buzzy Nuevo Polanco district, Museo Jumex has since hosted blockbuster exhibits. Its Andy Warhol exhibition, Darkish Star,attracted round 310,000 attendees in 2017; the pairing of Jeff Koons and Marcel Duchamp within the two-artist present Bare Look noticed round 400,000 friends throughout its 2019 run. The general public response has usually been a mixture of shock and marvel, López says. “Folks got here as much as me to specific their shock to see a Warhol in Mexico Metropolis.” Reveals organised by Museo Jumex have additionally had an influence past Mexico Metropolis, travelling to the Museum of Trendy Artwork and Dia Artwork Basis in New York, the Los Angeles County Museum of Artwork, the Walker Artwork Middle in Minneapolis, MoMA, Dia Artwork Basis, LACMA, Walker Artwork Middle, Museum of Artwork of São Paulo Assis Chateaubriand and the Museo Reina Sofia in Madrid.

Crowd-pleasing installations on the plaza in entrance of the museum have included Koons’s gargantuan ballerina sculpture in 2017 and Rirkrit Tiravanija’s participatory ping pong piece, Untitled [Tomorrow is the Question] in 2012. “Each time we put artwork outdoors, it needs to be both spectacular in measurement or one thing that the general public can play with,” he says.

Every part Will get Lighter appears again on the establishment’s first decade and displays López’s ongoing amassing. His quarter-century friendship with Philips, by way of his function as a member of the board of trustees on the New Museum, made her his first option to curate the anniversary present. “She is somebody who makes all the pieces really easy,” he says. “She advised me she would solely do that for me.” He provides that he handed Philips the keys to his assortment along with his “eyes closed” as a result of “I knew she would all the time shock me”.

The pairing of patron and curator yielded an intriguing journey via the gathering and across the constructing spanning new works to Dan Flavin’s fluorescent gentle sculpture, Untitled (Monument for V Tatlin) (1964), the oldest work within the present. Artists who’ve had main solo exhibits at Museo Jumex over its first decade, like Pedro Reyes, Urs Fischer and Abraham Cruzvillegas, are represented, as are Tacita Dean, Tala Madani, Pia Camil, Roni Horn, Lina Bo Bardi and others. The attention-catching public work on the plaza is Olafur Eliasson’s aquatic sculpture, Waterfall (1998).

López just isn’t stunned by the rising numbers of native galleries and worldwide sellers opening outposts in Mexico Metropolis and across the nation. “I all the time waited to see this second,” he says, including that the town’s flourishing artwork market displays a quickly increasing collector base. “There was me and some others [when he started collecting], however due to the native galleries and artists, there are such a lot of collectors in Mexico now.”

A key consider Museo Jumex’s success is López’s knack for showmanship and crowd-pleasing. In reference to the forthcoming Hirst present To Stay Perpetually (For A Whereas) (23 March-25 August), organised by former Tate curator Ann Galagher, he says: “I advised Damien no matter he needs to point out, he has to deliver the shark!” Round 60 works by the Turner Prize-winning artist, created between 1986 and 2019, can be featured, together with well-known sequence like his medication cupboards sculptures and the butterfly work—and, after all, a sure fish suspended in formaldehyde.