As I delve deeper into this captivating narrative about Eugenio López Alonso, a man of immense charisma and passion for art, I cannot help but be utterly fascinated by his extraordinary journey. From his humble beginnings as a young playboy to becoming a renowned art collector, philanthropist, and socialite, Eugenio’s life is a testament to the transformative power of love, determination, and the desire to make a difference in the world.
From his childhood in Mexico City, it was clear that Eugenio López Alonso would follow a specific course: He was set to rule as the leading figure in the fruit juice industry across Latin America.
Being the sole child and inheritor of beverage tycoon Eugenio López Rodea, there was immense pressure on him to assume leadership of Grupo Jumex, the colossal family business and the leading supplier of fruit juices in South and Central America. While not particularly glamorous, it certainly came with a hefty dose of responsibility and guava, meaning a significant amount or challenge.
I’ve always admired López’s journey and the choices he made along the way. Instead of following the same path as many others, he took a different route and became a trailblazer in the L.A. art scene. At 56 years old, he’s now a highly influential and well-connected figure in this vibrant community. For the past three decades, he’s been an advocate for emerging Latin talent in the U.S., amassing one of the most extensive private modern art collections in the world. His stunning modern home is a testament to his success, and he’s befriended some of Hollywood’s biggest stars. But what truly sets him apart are the legendary, celebrity-packed parties he throws – something L.A., known for its love of a good bash, can really appreciate.
“He shares that when he arrived here in 1994, it marked a significant shift in his personal experiences. This place brought about a transformation for him, serving as a pivotal moment in his life, offering him the liberty he sought.”
In his twenties, López gave marketing at his father’s company a try as the family business’s head, but he seldom showed up at work to market. Instead, his true interest was in art, a passion ignited during a European tour with his parents. At that time, he had to be inventive to satisfy his artistic cravings. “I told my father I was going to the machinery plant in Dallas when in fact I was attending the Menil Collection opening,” he reminisces.
López often traveled to Los Angeles when his schedule allowed. There, he maintained two distinct personas: a juice marketing professional during the day and an avid art enthusiast at night. Following a chance encounter with art consultant Esthella Provas, they devised a plan to fund her new gallery showcasing Latin American artwork, which was set to debut in January 1994. However, just as they were preparing for the grand opening, the Northridge earthquake struck. Filled with fear, López considered abandoning the project. “I recall driving through the rain-soaked streets, thinking, ‘This isn’t the right time.’ But we ultimately decided, ‘We can make this work!'”
For the following ten years, Provas and López managed Chac Mool Gallery on Robertson Boulevard. This gave him an opportunity to amass a collection, as well as a motivation to reside outside Mexico City and leave his family’s juice business behind: “I could persuade my father that it was a viable enterprise,” he shares.
In 2001, he managed to convince his father once more, this time allowing him to transform a 15,000-square-foot factory at a Jumex plant, located north of Mexico City, into an exhibition area. This idea came to him after being inspired by the Saatchi Gallery in London, which was established in a repurposed industrial site by British collector Charles Saatchi. López thought, “Why not bring people to an old factory in Ecatepec instead?”
Art enthusiasts from every corner of the globe began to gather at La Coleccion Jumex, where López displayed his expanding collection of artworks by Mexicans, Americans, and Europeans, surrounded by pulping and pasteurization equipment.
Nowadays, López was among the globe’s elite collectors. He possessed both the refined palate and ample resources, without hesitation splurging his wealth. As a renowned curator put it, “Many collectors grow apprehensive. They often settle for less expensive or smaller items. Later on, they lament, ‘Why didn’t I invest in the grand piece?’ Eugenio, however, goes for the grandeur. He doesn’t hold back from spending.”
In 2001, López discovered a run-down house in Beverly Hills’ Trousdale Estates that he believed would perfectly suit his needs – himself and his art collection. The house, built in 1957 by architect Wayne McAllister, was nestled on an acre of lush greenery. However, his father cautioned him against the purchase, labeling it as a “teardown.” Ignoring this advice, López went ahead with the deal. Three days after September 11, he finalized the purchase, but doubts crept in once more. The restoration project, managed by architect Ron Radziger of Marmol Radziger and interior designer Vance Burke, proved to be a laborious and extended process.
The most captivating aspect of the completed house lies in what adorns its walls. At present count, there are six masterpieces by Cy Twombly, along with artworks from Andy Warhol, Donald Judd, Damien Hirst, Brice Marden, Gerhard Richter, Bruce Nauman, Bob Gober, and Ed Ruscha. Notably, Ed Ruscha’s 1973 word painting, titled “Virtue,” holds a prominent position above López’s bed.
According to dealer Larry Gagosian, this house is truly exceptional and exudes a sophisticated charm. He describes it as a priceless gem from the 1960s with an alluring “Rat Pack” ambiance and seamlessly connected living spaces.
The news regarding the house spread. One evening at Spago, Betsy Bloomingdale and Princess Ira von Fürstenberg approached Lopez inquisitively to inquire about it. They eventually persuaded him to give them a late-night tour of the place.
In the summer of 2004, he officially showed off his house to its fullest extent during a grand dinner party he hosted for 300 guests. This event took place in celebration of the UCLA Hammer Museum exhibition titled “Made in Mexico.” The attendees included artists, Los Angeles collectors, and socialites. Amidst the excitement, go-go dancers entertained the crowd by dancing around the pool. As recalled by Ann Philbin, the Hammer Museum director, it was an enchanting night.
The events that followed at López’s Trousdale residence, as well as at other locations, gained legendary status. One collector reminisces about the extravagant parties López threw in Mexico City, saying, “They were incredible. These parties could go on for 20 hours straight. You would be invited for lunch, and people wouldn’t leave until 6 a.m. The likes of which most people have never experienced.”
At a López dinner in the early 2000s, a prominent New York art dealer was in attendance and still recalls it as “one of the most memorable parties I’ve ever been to.” He shares that instead of traditional floral centerpieces, the tables were adorned with terrariums housing scorpions and tarantulas, giving the event a distinctively Mexican vibe.
At these events, the guest lists were just as diverse and captivating as the distinguished names suggested. A frequent attendee at López’s Los Angeles soirees recounts, “We had attendees ranging from Ed Ruscha to Mexican pop sensation Paulina Rubio, and everyone in between.” Another partygoer adds, “Salma Hayek and Wendy Stark were regulars, as were movie stars, prominent producers, CAA representatives, artists, collectors, and other prominent society figures. It was a melting pot of influential individuals.”
According to Kevin Huvane, a member of that CAA team, Eugenio’s home in Los Angeles functions much like a contemporary Renaissance salon. Eugenion has an extraordinary ability to gather people around him.
López wasn’t always present at his own gatherings; instead, he made grand appearances late in the evening. This habit of his only heightened the intrigue surrounding him as the enigmatic Latin art collector. However, there was more to López than met the eye. In his home, tucked away from guests and rarely explored, sat a vast library filled with books on topics such as history, art, and more. As noted by Jeffrey Deitch, the art dealer and former head of Los Angeles’ Museum of Contemporary Art, López had read every single volume in that collection. “He may seem carefree and social,” says Deitch, “but López is an incredibly deep and sophisticated individual.”
Several years following his purchase of the house, López decided to shut down Chac Mool Gallery and took up a position on MOCA’s board. This transition occurred during an era when contemporary art began exerting significant influence on the city’s global standing (presently, he serves as vice chair). In his own words, “For the first time in my existence, I embarked on an endeavor that I was convinced wouldn’t falter, as I had meticulously prepared and harbored a deep-rooted enthusiasm for this new path.”
He strongly feels motivated to champion up-and-coming artists, as he shares, “There was a significant void in support for budding artists.” Previously, if a young artist approached a potential benefactor with an unusual request like, “I will fill a Volkswagen with water and split it in half. I require $10,000,” the response would have been dismissive, “Get this eccentric individual out of here!” However, he stepped in and exclaimed, “Approach me instead!” As a result of his grant from López, Mexican artist Damián Ortega’s installation, “Cosmic Thing,” featuring a disassembled 1976 VW Beetle, has become a significant piece in MOCA’s collection.
I was thrilled when López unveiled his permanent museum, Museo Jumex, in Mexico City back in 2014. It’s not just any museum – it’s the place where he showcases his impressive collection of modern art. And let me tell you, he owns another stunning modernist house there, filled with masterpieces that leave you in awe. The museum itself spans over 43,000 square feet and four stories, with a distinctive sawtooth roof that makes it an architectural marvel. British architect David Chipperfield designed this beauty, and his genius was later recognized with the prestigious Pritzker Prize – architecture’s highest honor.
“Jeff Koons, whose art is showcased at Museo Jumex, praises Eugenio López Alonso for his passion for art and commitment to making it accessible to all. Eugenio’s significant strides in promoting contemporary art in Latin America through Museo Jumex and other charitable initiatives reflect his care for people and his wish to spread the beauty of humanity, ensuring a prosperous present and future for us all.”
Nowadays, López goes out less often and with less enthusiasm compared to his younger years. Instead, he can be found at the Polo Lounge, enjoying meals with friends such as Joan Collins, Candy Spelling, and Nikki Haskell. According to another acquaintance, “He has a fondness for the gay and elderly crowds — those sophisticated older ladies,” possibly because they offer more vibrant social scenes than many younger Angelenos.
As a gamer, I’d say, “I invite everyone for dinner on Mondays, usually around nine thirty works best for us.”
“Two types of individuals exist in the world: those who radiate warmth like ovens and those who chill like refrigerators. Eugenio falls into the former category, the warm and welcoming ones. He delights in uniting diverse groups of people, is an affable and magnanimous host, and relishes throwing a party as much as I do. Furthermore, I’ve long admired his extensive understanding of the entertainment industry.”
As a huge fan of Eugenio, I can’t help but express my deep admiration for him. There isn’t anything I wouldn’t do for this extraordinary individual. He truly stands out from the crowd, with no one quite comparable to him. Yes, he has a playboy reputation, but that’s just one side of Eugenio – the side people see. Beneath the surface lies a man with an incredible purpose, making him the most caring and kind person I have ever encountered.
Haskell fondly recalls the extravagant Studio 54-themed birthday party he organized at his home three years ago for her. The event was filled with numerous drag queens, some of whom bore a striking resemblance to certain celebrated guests.
Says the octogenarian birthday girl, “At Eugenio’s house, you meet everybody.”
I’ve been an avid reader of The Hollywood Reporter for years now, and let me tell you, their July 22 issue was a real page-turner! In fact, I was so engrossed in the story that I had to resist the urge to share it with my friends right away. If you’re not already a subscriber, trust me, you’re missing out on some top-notch industry news and insights. Click here to subscribe and join me in staying informed about all things Hollywood!
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2024-07-24 16:25