Javier Hontoria

  • View of “Magali Reus,” 2015.
    picks September 22, 2015

    Magali Reus

    Hinging on material and semantic ambivalence, London-based Dutch artist Magali Reus’s work incorporates such quotidian objects as seats and fridges to delineate the contours of social space and explore the limits of our interactions within the technological realm. Her small, casted and milled objects, be they representational or abstract, are here set to perform. Viewers might be tempted to analyze their behavior as much as their formal qualities.

    For her recent sculptures on view, Reus employs references to sidewalk curbs, as in the series “In Place Of,” 2015, and padlocks, as in “Leaves,” 2015.

  • View of “Deserto Modelo: As Above, So Below,” 2015.
    picks July 07, 2015

    “Deserto Modelo: As Above, So Below”

    Seven Brazilians representing several generations take part in “Deserto Modelo: As Above, So Below,” a show curated by artist Lucas Arruda. Arruda, who included his own work in the exhibition, is known for a pictorial practice based on the intimacy of landscape and memory. Made up primarily of paintings and sculptures, the show would seem to touch upon a certain formalism, yet an atmosphere of immateriality belies all preconceptions.

    The title, “Deserto Modelo,” suggests a pattern, a mechanical stance that would seem at odds with the exaltation of experience that is at the core of Arruda’s

  • View of “Gabriel Pericàs,” 2014–15. Photo: Mirari Echavarri.

    Gabriel Pericàs

    Gabriel Pericàs was born in Palma de Mallorca in 1988 and, in spite of his youth, is widely regarded as one of the true talents of the Spanish art scene. He was already exhibiting widely even when he was still a student at the University of Barcelona, and his career seems only to have accelerated after his recent move to New York, thanks to a Fulbright grant. Throughout his career, he has manifested a strong interest in the field of design; a good part of his work has evolved around the alternative and often mordant readings of its modern and recent history that support the irrefutably

  • Gintaras Didžiapetris, Inside Port Authority, 2014, digital image file, dimensions variable.
    picks April 10, 2015

    Gintaras Didžiapetris

    In the spirit of collaboration that pervaded late 2000s Vilnius, where Gintaras Didžiapetris spent his formative years, the artist has invited AaBbPp, Elena Narbutaité, Rosalind Nashashibi, and William Eggleston to participate in his first institutional show in Spain. Didžiapetris’s medium is the open file: an ethereal, evolving device that can assume one format or another depending on the artist’s decisions. A small video projection titled Transit, 2012, took the form of a 16-mm film in a previous show and may well manifest itself via another medium in the future. Its low-definition footage

  • Carlos Irijalba, Pendo 1, 2014, steel, resin, fiberglass, stone powder, 35 1/2 × 82 3/4 × 23 3/4".

    Carlos Irijalba

    Viewers already familiar with the work of Carlos Irijalba might have been surprised that his latest show consisted almost solely of sculpture, given that, over the years, he has built a strong reputation with his videos and photographs. However, sculpture is by no means new to him. He studied in Bilbao, where some of his teachers were the chieftains of the so-called Basque school of sculpture, a rather dogmatic group. Perhaps in response to their doctrinaire attitude toward the medium, he veered toward photography, with a particular interest in the ways in which representations of reality are

  • Jochen Lempert, Untitled (Feathers), 2014, gelatin silver print, 20 × 15 3/4".

    Jochen Lempert

    Jochen Lempert’s photography is unmistakably black-and-white, mostly printed in small and medium formats, and invariably unframed. Just as constant has been his disinterest in the dazzling enticements of contemporary urban life. Instead, the Hamburg-based artist has been impelled—throughout a career now spanning some two decades—by a deeply rooted fascination with fauna, flora, and the slow and seemingly elusive drift of natural phenomena. In many cases, air itself plays the leading role, its apparent emptiness stretching right across the image to unfold as tangibly as the insects,

  • View of  “Karlos Gil: sub rosa,” 2015.
    picks February 20, 2015

    Karlos Gil

    In “sub rosa,” his second solo exhibition at this gallery, Karlos Gil stimulates a dialectical relationship between craftsmanship and technology. The tapestries and sculptures here evoke the logic of productivity raised by nineteenth-century biologist Wojciech Jastrzebowski and his pioneering thesis on ergonomics, which Gil has methodically incorporated into his output since the beginning of his incipient and promising career.

    If ergonomics is the concept here, punch cards are the tool. They lie at once at the heart of a pretechnological era (they were used by Joseph Marie Jacquard for weaving

  • A Kassen, María Loboda, 2014, C-print, 31 x 21". From the series “Naked Photographer,” 2014–15.
    picks February 20, 2015

    A Kassen

    In a career spanning more than ten years, Danish collective A Kassen have distinguished themselves for their consistent scrutiny of artistic mediums. Embracing photography, sculpture, architecture, and incursions into urban space, their work interrogates the commonplace in a practice that is as formally precise as it is conceptually trenchant. In their third exhibition at this gallery, they present yet another twist in their dissection of artistic conventions, wherein they invited thirteen fellow artists to make portraits of themselves, with the stipulation that they should be naked. But rather

  • View of “Miki Leal,” 2014. From left: La pared de Raymond (Raymond’s Wall), 2014; Juego de lápiz (Playing with the Pencil), 2014; De como todo es posible (About How Everything Is Possible), 2014; Proyecto para una alfombra (Project for a Carpet), 2014.

    Miki Leal

    In 2009, the Seville-born, Madrid-based painter Miki Leal traveled by motorbike to Martin Heidegger’s Hütte in Germany’s Black Forest; the journey occasioned a series of works in acrylic and watercolor on paper—the signature medium through which Leal has built his unique position among the artists of his generation—depicting the hut, its physical surroundings, and, more broadly, imagery evoking the philosopher’s inner world. Leal seems to have been struck by Heidegger’s need to create in isolation—something that surely took the artist back to his own childhood, when he would

  • View of “Petra Feriancová,” 2014.
    picks December 31, 2014

    Petra Feriancová

    Petra Feriancová’s exhibition in this unique Neapolitan space, “Things that happen, and things that are done. On Beginnings and Matter,” fulfills the expectations its title creates. Her installation occupies all three floors of this foundation, and it tackles ideas related to the creation of the world that stem mostly from mythological sources. Comprising sculptures, photographs, and films, the presentation adheres firmly to the artist’s concern with display.

    A sense of the primeval arises from the very beginning, with fragments of Greek myths printed on large sheets of paper in on beginnings

  • Teresa Solar Abboud, F REIGN OF ICE / GH ST, 2014, ceramic, potter's wheel, 45 x 24 x 13".
    picks October 09, 2014

    Teresa Solar Abboud

    Teresa Solar Abboud's latest solo show “Foreign Office” conveys a shift from her usual video practice, which has mostly focused on language, translation, and the construction of meaning. These topics remain at the core of her practice, but they are now tackled through sculpture. Here, she presents two ceramics that that were inspired by Thamsenqa Jantjie’s onstage gestures at Nelson Mandela’s recent funeral, where, as it is widely known, he posed as a sign language interpreter while making a mysterious and nonsensical array of gestures. Solar Abboud has always been interested in the tangible

  • Julia Spínola, Untitled, 2014, mdf, paint, cardboard, wood, 22' 1/2“ x 15” x 13".
    picks May 28, 2014

    Julia Spínola

    Among artists of her generation, few possess a more personal and unique stance than that of Madrid-based Julia Spínola. Her work unfolds at a threshold where movements, gestures, and gazes take shape in sculpture and drawing, all of which seem slightly illogical within the logic of mainstream practice. The forms in her work are almost unrecognizable, primarily because they are not governed by ideas as they do not seem to have reached the domain of reason—nor does the artist seem to care to have them do so. An English translation of the title of her show, with a strong Beckettian accent, would