Javier Hontoria

  • Enric Farrés Duran

    Deeply rooted in the cultural scene of Catalonia, the work of Enric Farrés Duran tends to be aligned with that region’s post-Conceptual tradition. Although the artist is not unknown in Madrid, where he has shown his work in noncommercial venues, “Empezar por el medio” (Beginning in the Middle) was his first solo exhibition in the city and featured a selection of recent works gathered around a central piece, El viatge frustrat (The Frustrated Journey), a 2015 video that remains one of his best works.

    Recorded on a cell phone, the footage traces a voyage in a small boat from the Catalan town of

  • picks February 07, 2019

    Cynthia Gutiérrez

    A resistance to cultural oblivion and a fascination with the shifts and dispersals of heritage are the major themes of Cynthia Gutiérrez’s beautifully titled exhibition “No para siempre en la tierra,” which may translate, albeit with a subsequent loss of empathic charge, as “Not Forever on Earth.” The show develops the artist’s interest in Mexican tapestry traditions, a concern she took on in 2017’s Venice Biennial, where she filled a room with whimsical sculptures inspired by the waist loom practice of Oaxacan weavers. The works here are less colorful but similarly tap into local modes of

  • Erlea Maneros Zabala

    In her recent show “Works 2017–2018,” Erlea Maneros Zabala continued to pursue the topics that have so far shaped her career. Born in the Basque Country in Spain and trained in Glasgow and California, where she is currently based, Maneros Zabala crystallized her approach to artmaking around the time of the 9/11 attacks, an event that drew her attention to the ways in which newspapers handled their visual material. Media images became her main concern, and since then she has put together an immense archive of such pictures, which has become her most valuable tool. Her time in California also led

  • Pepe Espaliú

    In 1993, at the Sonsbeek festival in Arnhem, the Netherlands, Pepe Espaliú performed an action titled El nido (The Nest). As one could see in the video documentation in this show, he walked in circles on a platform high up in a tree for eight days, taking off one piece of clothing every day until, on the last one, he was entirely naked. This was one of Espaliú’s final works. He had been diagnosed as hiv-positive three years earlier in New York, and he passed away later in 1993 in Córdoba, the Andalusian city where he was born in 1955, bringing an end to one of the most intriguing careers among

  • Pieter Vermeersch

    Pieter Vermeersch’s recent solo show in Barcelona came just over a year after another exhibition by him, held at Blueproject Foundation in the same city. In both cases, the Belgian artist added new elements to the existing architecture, providing a robust structural tangibility around which his reflections on light and color could unfold. This approach lent emphasis to the vaporous abstraction of the chromatic modulations on the walls and evinced a totalizing impulse that merged painting and architecture. A profoundly asymmetrical T-shaped white cinder-block structure in the middle of ProjecteSD

  • KölnSkulptur #9

    Held every two years in a twenty-five-thousand-square-foot park by the Rhine, KölnSkulptur is now twenty years old. The project was set up by fervent German collectors Michael and Eleonore Stoffel, who began inviting curators to commission works for the park in 1997. The idea was that the sculptures from each iteration of the show would remain in the park for two years, after which the next curator would add new ones and decide which of the previous ones should be removed, left in place, or relocated. So in this edition, subtitled “La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!” (

  • picks December 24, 2017

    Mauro Cerqueira

    Anyone familiar with Mauro Cerqueira’s previous work may be surprised by the new route it seems to take in his current show. Known for his critical awareness, his subversion of his hometown of Porto’s raging urban homogenization, Cerqueira makes use of a vast array of found material to assemble installations and sculptures aimed to preserve the memory of his surroundings. He directs gestures of warmth at detritus and derelict spaces in an attempt to sustain that which is ineluctably bound to vanish. Resistance becomes almost literal, as local traditions and personal stories are brought to bear.

  • Ángel Bados

    Considered in light of today’s systemic global homogenization of artistic practices, the concept of a local “school” may sound outdated, but the art of Spain’s Basque Country has been shaped by a strong awareness of identity and territory. The leading light was Jorge Oteiza, who left behind an immense legacy, not only sculptural but also ideological. He abandoned sculpture in 1959 to devote himself to writing and philosophy for the remaining four decades of his life. Oteiza’s example was assimilated in the 1980s by Ángel Bados, Txomin Badiola, and other colleagues, who added gestures derived

  • picks October 19, 2017

    Christian García Bello

    If Christian García Bello’s second show at this gallery seems to stage no major overhauls of his first, progress nonetheless lies within the reaffirmation of his perseverance. In this light, the exhibition represents a remarkable step forward in his still-young career. Titled, somewhat awkwardly, “Ahora no es pretérito todavía” (Now it is still not the past), the show reflects on how our relationship with time informs our perception of space. His drawings and sculptures share a precise blend of representation and abstraction, mathematical rhetoric and transcendent nebulousness, as he draws from

  • Johanna Calle

    Quiet and well measured, Johanna Calle’s exhibition “Semántica” (Semantics) comprised a carefully selected group of works that revealed most of the Colombian artist’s aesthetic concerns. Her practice is rooted in an ambiguous place between language and image, or rather, in one systematically polluted by both. As the show’s title suggested, her work goes far beyond formalism, involving drawing and writing as methodologies of understanding. Over the years, linguistic signifiers often related to the social and political complexity of her country’s recent history have unfolded as fragmented,

  • picks February 21, 2017

    Elena Alonso

    Since its inception, Elena Alonso’s drawing practice has continually redefined its own formal limits. It was only a matter of time for her motifs to evolve into sculptural entities. The artist cultivates an ambiguous terrain in her iconography, somewhere between geometric abstraction and organic representation with allusions to the body.

    This site-specific project, titled Visita Guiada (Guided Visit), 2017, is a newly commissioned work installed in the cold storage of a former slaughterhouse in Madrid. That she has so successfully translated her personal language, her profound sense of intimacy,

  • picks February 21, 2017

    Joana Cera Bernad

    Joana Cera Bernad’s first exhibition at this gallery features an hourglass on a small shelf at one end of the gallery—Un segundo de tierra (One Sand Second), 2009—a minuscule device that registers the passing of only one second, derisively whittling time down to its elementary unit. With its anomalous pace, the piece seems rara avis, given the rest of the intensely meditative works on view, but it poses a question that immediately links it to them: How much sand fits in one second?

    In a number of works installed on both the floor and the walls, Cera Bernad mixes stones she found with ones that

  • Ignasi Aballí

    From the first, Catalan artist Ignasi Aballí has questioned the notion that painting is an eminently visual device. He began working at the end of the 1980s, when the weariness produced by the painting overflow of that decade impelled many artists to reflect not so much upon what was to be seen but rather upon the conceptual framework that made it visible. For Aballí, this led to a practice based more on suggestion than on explicit presence, in which painting was active as an idea and not as a physical entity, and images were to belong to the realm of the mind rather than to that of the eye.

  • picks November 01, 2016

    Juliette Blightman

    At the entrance to this exhibition, a sheet of text by Juliette Blightman elides the wintry dullness of institutional overtures and promptly slips a viewer into her intimate space. It is a territory she rarely abandons, and one to which few other contemporary artists lay claim with the same fresh simplicity and uninhibited sincerity. The title of the show, “Extimacy,” evokes an outward orientation that does not ultimately characterize the works included. This presentation explores a tension between presence and absence—or, perhaps, the multiple ways of being present.

    Two big paintings, Exclusivity

  • Vanessa Billy

    In this age of technology, materials have become a major concern in contemporary sculpture, with artists showing keen interest not so much in their intrinsic properties as in the meditative observation of their behavior. Rather than being manipulated and transformed according to someone’s aesthetic decision, materials perform; they take on a role that turns out to be just as active as that of the artist, or even more so. Formerly a maker, the artist is relegated to a more contemplative—and often perplexed—position. Sculpture is the vessel of a force, the container of a drive that

  • picks October 17, 2016

    José Díaz

    Since its beginnings, the pictorial world of José Diaz’s work has been deeply imbued with both historical references and a recognition of the digital age’s ardent circulation of images. His subject is the city and, more specifically, the experience of his hometown, Madrid. It is a longtime point of reference in his abstract output and one that has evoked issues as varied as Spain’s Baroque tradition and the smoke-stained tunnels of the city’s ring road. The once dark and densely layered surfaces of older paintings give way now to an unprecedented clarity. His city is still his backdrop, but his

  • Cabello/Carceller

    Helena Cabello and Ana Carceller, a Madrid-based duo active since 1992, have effectively intermingled a committed pedagogical stance with an art practice based on photography, video, performance, and writing. Deeply imbued with a solid feminist discourse, their work invariably emphasizes the voices of the minorities that were and are abusively marginalized by Eurocentric modernist canons. This approach inevitably encompasses a reevaluation of the concept of authorship; the standard image of the white male genius is systematically undermined, not only by means of a practice developed by a two-woman

  • picks May 25, 2016

    Marina Pinsky

    Every exhibition by Marina Pinsky, and this one is no exception, is ineluctably constructed upon a series of foundations—namely, a profound interest in the specificity of the context and an apparently effortless and uninhibited choice of materials. Nonetheless, a solid relationship between sculpture and photography in particular persists throughout her oeuvre. The young Russian now lives in Brussels, where she seems to have quickly absorbed the somewhat uncanny sense of humor that governs Belgian people’s take on almost everything.

    On the ground floor of this gallery, Pinsky’s intervention

  • picks March 31, 2016

    Itziar Okariz

    For more than two decades, Itziar Okariz has blazed a trail for Spanish performance artists through a practice based on exploring the construction of identity. Her work stems from 1990s gender discourse, yet ascribing its qualities exclusively to this context would definitely be reductive, as the artist has always focused on a performativity that also examines the ties between landscape and architecture, sign and ritual, or sexuality and territory. In her quest to render the self, her practice took a turn to the verbal over the spatial, privileging language over the body.

    Much of Okariz’s practice

  • picks December 21, 2015

    Álvaro Negro

    Two paintings and a tiny video installation comprise Álvaro Negro’s return to a Madrid gallery after many years of silent research on painting and temporality. The show seems rather small, but emanates an outstanding intensity; such is the dense weave of perceptive associations it conveys. The works presented in this show stem from another, not on view here, which was made via a meditative filmic process, and focusing on a set of sculptures German artist Ulrich Rückriem installed in a field in Galicia, Negro’s hometown in northwest Spain. By positioning his camera from a varied array of vantage