Lourdes Grobet  |  Photography and environment   |   El Santo's daughter  |  Interview  |  CV  


Lourdes Grobet. Photography and Environment
Víctor Muñoz

"A la mesa", instalation, 1973
Due as much to Lourdes Grobet's schooling as to the period's critical sense, the origins of her art practice are closely tied to contemporary painting. She was a student of artists Mathias Goeritz, Gilberto Aceves Navarro and Katy Horna, among others. "The teachers that most influenced me early on," says Grobet, "were Mathias, Gilberto and El Santo-The Man in the Silver Mask."

By the late 1960s, the art object had been widely discredited as something trapped within the art market, conventionality or individualistic outlooks. This, in any case, was Lourdes Grobet's experience in Paris in 1968. Her reaction to the staleness of tradition was immediate, as she decided that painting simply did not meet the time's needs in terms of communication. Consequently she turned to photography as a more dynamic medium that referred to community life-a medium that she could use not only as a means of documentation but also as a way of interceding in the course of events.


Lourdes Grobet
Editorial Turner

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Espectacular de Lucha Libre
Editorial Trilce

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Lourdes Grobet


El Santo's Daughter.
Rubén Ortiz Torres

Rampstein, Sangre Azteca,
and Hoolligan vs. Lourdes 2003
Photo: Ernesto Peñalosa

I once heard Lourdes Grobet say that her main influences were Mathias Goeritz, Gilberto Aceves Navarro and El Santo. This holiest of trinities represents a dialectic, equilateral vision of the universe forming a pyramid that is a kind of depository for much of contemporary Mexican art. Mathias Goeritz–with his playful modernism (a much-criticized forerunner of minimalism), his sculptures, installations, concrete poetry and post-Dada, and proto-conceptual experiments–would be the thesis and one end of the pyramid's base...




A life without masks.
An interview with Lourdes Grobet

Angélica Abelleyra

She is straightforward and fun. She sometimes becomes pensive, but then immediately gestures with her hands, livens up and once again defies the Saint of Formality–that ubiquitous incarnation of evil whom she has always managed to defeat. Her words are transparent in the same way that her creative work is a transparent and yet kaleidoscopic reflection of an eclectic, suggestive outlook on life.