Lolo y Lauti
Me huevo loca, 2018. Performance. Variable dimensions. Edition of 2
Mirtha eres tú, 2019. Installation. El Mundo del Espectáculo. Casa Nacional del Bicentenario, Buenos Aires
Susanathlon, 2019. Installation. 15 TVs. Variable dimensions. El Mundo del Espectáculo. Casa Nacional del Bicentenario, Buenos Aires
Las vacaciones de Tini en tu mente, 2016. Laser printing on blotting paper. . 13,5 x 13,5 cm. Edition of 3
iSexy: cruisin’, 2018. Performance. arteBA, Buenos Aires
iSexy, 2017. Digital photograph
Autorretrato, 2020. Wood, acrylic and engine. 200 x 100 cm (each). Inédita, Barro
Carmen, 2018. Single channel video. 38’35’'. Edition of 5. Video still
Come together, 2016. Performance. Unique copy
Followers de Mirko, 2019. Installation. Variable dimensions
The Susana & Verónica Acapulco experience, 2019. Installation. Augmented reality. Variable dimensions. El Mundo del Espectáculo. Casa Nacional del Bicentenario, Buenos Aires
Naomi, 2019. Installation. Interactive runway. Variable dimensions. El Mundo del Espectáculo. Casa Nacional del Bicentenario, Buenos Aires
La Sociedad de Beneficencia, 2019. Video 2’06”. Edition of 3 + 2 AP
Trixxx, 2017. Video 3’40’’. Edition of 3
Argentinian Horror Story, 2016. Video 4’56’’. Edition of 3
Técnica: Besos, 2018. Kisses with acrylic paint from the artists on David made of plaster. 174 x 44 x 30 cm
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Lolo y Lauti are a contemporary Argentine art duo who have been working together since 2011. Their works include performances, videos, sculptures, installations and photography displayed in formats ranging from the exhibition to the opera, with social media and virtual reality in the middle. They reclaim humor as an autonomous experience and a tool to address topics such as sexuality, drugs, death and art. Their iconography comes from the world of Internet and television entertainment, but also from magazines and amusement parks. Fictional characters such as Mafalda and TV divas such as Moria Casán meet each other sharing the spotlight in a psychedelic remix full of theatrical reminiscences.Just as they include elements belonging to mass media in art, they also conceive art with mass media strategies. They do not reject nor dwell on these references; they overbloat them until criticism and devotion become one. The main modus operandi of the duo is appropriation, a strategy shared by contemporary art and Argentine show business, which many times appropriates international show business. Just like Argentine TV diva Susana Giménez appropriates Broadway, Lolo y Lauti appropriate her, in a queer coded sign representing the free play of popular culture.
Some of there more relevant projects include El Mundo del Espectáculo (Casa Nacional de Bicentenario, Buenos Aires, 2019), the video Carmen (MAC, Panamá; MALBA, Buenos Aires; Galeria Vermelho, San Pablo, 2018), the contemporary opera Perfect Lives (Teatro Colón, Buenos Aires, 2016) and the performance Me Huevo Loca (Arteba, Buenos Aires, 2019). They have shown their work in museums, galleries and festivals in United States, Germany, Spain, Italy, United Kingdom, Austria, Greece, Belgium, Mexico, Colombia, Chile, Uruguay and Panamá. They curate PERFUCH, the biggest festival of performance in Argentina. They live and work in Buenos Aires.
exhibitions
Primeras Figuras
30.05.2024
Primeras figuras, the new solo exhibition by the duo Lolo y Lauti. Curated by Santiago Villanueva, the show is composed by a series of videos and cave paintings made from wires. These “archaeologists of ecstasy” present us with a new exploration of night clubs as places of sites where prehistoric rituals persist.
news
16.05.2025 El gusanito by LOLO Y LAUTI
links
Mercedes Urquiza, "Lolo y Lauti: del arte de preparar un huevo con papas fritas a la recreación del mundo del espectáculo", La Nación (Argentina), Agosto 2019
Kerry Dorran, “MAD SCRAMBLE” Artforum (USA), abril 2019Ines Hayes, “Queremos tanto a Guy Debord…”, Revista Ñ (Argentina), Septiembre 2019
Delfina Bustamante, “La saciedad del espectáculo”, A*Desk (España), junio 2019
Ignacio D’Amore, “Acá sí podemos hacerlo”, Página/12 (Argentina), mayo 2018
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