Chris Sharp (b. 1974, USA) is a writer and independent curator based in Mexico City, where he and the Mexican artist Martin Soto Climent run the project space Lulu.
A se-lection of recent exhibitions includes The Secret and Abiding Politics of Stones (2015-2016) at Casa del Lago, Mexico City; The Lulennial: A Slight Gestuary at Lulu, Mexico City, co-curated with Fabiola Iza (2015); The Registry of Promise at La Fondazione Giu-liani, Rome, 2014, Le Parc St. Léger, Pougues-les-Eaux, France, 2014, Le Crédac, Ivry, France, 2014, and De Vleeshal, Middelburg, Holland, 2015; The 12th Swiss Sculpture Exhibition in Biel/Bienne, Switzerland, entitled Le Mouvement, co-curated with Gianni Jetzer, 2014; and Manners of Matter, Salzburger Kunstverein, Salzburg, 2014. He is a contributing editor of Art Review, a contributing editor of Art-Agenda, and his writing has appeared in many magazines, on-line publications and catalogs.
During a week, the curator shared the residency with artist Christopher Page, following the development of his paintings. At the end of this period, Sharp wrote a text about the work developed by Page.
“It was indeed special and in many ways ideal. It felt like a week-long studio visit in which Chris and I talked about his work and art in general, having many great conversations, while looking at art and getting to know the city. Thus when it came time to write a text for him, I felt like I really had a lot to work with, which is a very unique experience.”
Read below the curatorial text:
By Chris Sharp
Playing on the anonymity of the hand, labor, light, the interior, issues of opacity, and support structures, Christopher Page has created a suite of quasi-site-specific paintings for Frances Reynolds’ residency in Rio de Janeiro.
For this group of works, Page has departed from the usual support of the canvas on a stretcher and is painting on surfaces specially devised from drywall mounted on metal studs which mimic the opaque, enclosed interior of the home.
The works themselves seeks to reflect and reveal the light of their environment, while hosting the shallow, trompe-l’oeil surfaces for which Page is known. In doing so, Page continues his interrogation of the fundaments of painting, such as the support, surface, opacity, illusion and depth, which he equates with the structure of the home, how it is fashioned by a myriad of anonymous and invisible gestures, and ultimately closed in.
More about the curator
Chris Sharp (b. 1974, USA) is a writer and independent curator currently based in Mexi-co City.
A selection of exhibitions and projects include:
An Archive of Stones…, KIM? Contemporary art center, Riga, Latvia; The Secret and Abiding Politics of Stones, La Casa del Lago, Mexico City; The Lulennial: A Slight Ges-tuary, co-curated with Fabiola Iza, Lulu, Mexico City; The Registry of Promise: The Promise Literature, Soothsaying and Speaking in Tongues, De Vleeshal, Middelburg, Holland;
The Registry of Promise: The Promise of Moving Things, Le Crédac, Ivry, France; Man-ners of Matter, Musée du Château des ducs du Wurtemburg, Montbeliard, France; The 12th Swiss Sculpture Exhibition in Biel/Bienne, Switzerland, entitled Le Mouvement, co-curated with Gianni Jetzer; The Registry of Promise: The Promise of Multiple Temporali-ties, Parc St. Léger, Pougues-les-Eaux, France; The Registry of Promise: The Promise of Melancholy and Ecology, La Fondazione Giuliani, Rome; Manners of Matter, Salz-burger Kunstverein, Salzburg; Stay in Love, a two-part exhibition held Lisa Cooley gal-lery and Laurel Gitlen gallery, New York;
Notes on Neo-Camp, Office Baroque gallery, Antwerp, which traveled to Studio Voltaire, London, June that same year; Seeing is Believing, a solo exhibition of Jochen Lempert, Norma Mangione gallery, Turin;
Mexico City Blues, Shanaynay, Paris; Smeared with the Gold of the Opulent Sun at Nomas Foundation, Rome; Bouvard and Pécuchet’s Compendious Quest for Beauty, co-curated with Simone Menegoi, at the David Roberts Art Foundation, London;
Antic Measures Galerija Gregor Podnar, Berlin; Under Destruction, co-curated with Gianni Jetzer, at Museum Tinguely, Basel, 2010, which traveled to The Swiss Institute, New York; The Moment Pleasantly Frightful at Laura Bartlett Gallery, London;
The performance 13 Pieces, 17 Feet, upon which he collaborated with Becky Beasley at the Serpentine Gallery; Still Vast Reserves at Gertrude Contemporary, Melbourne, Aus-tralia, 2010, co-curated with Emily Cormack and Alexie Glass-Cantor; In Which the Wind is Also a Protagonist at La générale en manufacture, Sèvres, France, 2010;
The Zero Budget Biennial 2009-10, co-curated with Joanna Fiduccia, which traveled from Paris to Milan, London, and Berlin; a solo survey of the work of Alexander Gutke at Culturgest, Porto, which traveled to MoCAD, Detroit;
Disarming Matter, Dunkers Kulterhus, Helsingborg, Sweden.
In 2012, he was a pre-selected as a candidate to curate the 8th Berlin Biennial (2014).
In addition to organizing an ongoing year-long program of exhibitions of emerging Mexi-can artists at kurimanzutto gallery, Mexico City, forthcoming exhibitions include Against Nature at The Prague National Gallery, Prague, October, 2016; Milks and Sands, Pivô, São Paulo, April 2017, and a survey of Tom Wesselmann for Le Nouveau Musée Na-tional de Monaco, summer, 2017. He will also co-curate, along with Juan Canela Open-ing, Arco, Madrid 2016.
He co-directs, with the artist Martin Soto Climent, the Mexico City project space, Lulu. Opened in April, 2013, Lulu has since hosted over a dozen exhibitions of artists such as Lucas Arruda, Melanie Smith, Lisa Oppenheim, Nina Canell, Kate Newby and many others, as well as inaugurating the critically acclaimed Lulennial, a three-part micro bi-ennial co-curated with Fabiola Iza in early 2015.
Formerly news editor at Flash Art and editor-at-large of Kaleidoscope, he is contributing editor of Art Review, a contributing editor of art-agenda, and his writing has appeared in many magazines and on-line publications including Artforum, Fillip, Afterall, Mousse, Metropolis M, Spike, Camera Austria, artpress, and others. He has contributed critical texts to publications on the work of artists such as Michael E. Smith, Jochen Lempert; Jean-Luc Moulène, Simon Dybbroe Møller, Dane Mitchell, Roman Ondàk, Michael Dean, Christian Andersson, Ian Kiaer, Nina Canell, Lara Favaretto, Nina Beier and Ow-en Land among many others.
He has been curator-in-residence with Far Away So Close, Malmö, Sweden, in 2008; Gertrude Contemporary, Melbourne in 2009; ACAX, Budapest in 2010; Nomas Founda-tion, Rome in 2011; Soma, Mexico City in 2012, and the Belvedere, Vienna, 2014. He has sat on numerous juries such as the BES Revelação award, Fundação Serralves, Porto and artist in residency program, Dar al Ma’mum, Marrakech, and delivered lec-tures and participated in roundtable discussions on many occasions for institutions such as Diverse Works, Houston; MAMM, Medillín; LAXART, Los Angeles; The Walker Art Center, Minneapolis; Rupert, Vilnius; CCA, Tel Aviv; ICA, London; Artspace, Auckland; Fondation Ricard, Paris; The Palais de Tokyo, Paris; and Soma, Mexico City, among others.
Additionally, his exhibitions and projects have received critical attention in Artforum, Frieze, Texte zur Kunst, Art Review, Spike, Metropolis M, The New York Times, Le Monde, El Pais, art-agenda as well as many other publications, newspapers, websites and blogs.