madrid

Txomin Badiola

Galería Soledad Lorenzo

In Txomin Badiola’s new show, he abandons the formalist spirit of his earlier pieces, which were created in a constructive orbit close to Minimalism (and even to Jorge Oteiza), and throws his work smack into a critical deconstruction of contemporary narratives. Here, in addition to three large-scale photographs, he presented three installations that combine all sorts of things—video monitors, chairs, photographs, movie posters, books, sculptural-constructive elements, found objects—in an entropic mixture of materials and themes. In LM & SP (Un Hombre de Poca Moral y Algo de Persuasión) (LM & SP [A man of little morality and a bit of persuasion]), 1998, for example, a large wooden construction dominated on one side by a blown-up stock photograph holds an assortment of objects, among them three monitors playing three different videos (each made by the artist), whose characters include a

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