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View of “Alex Hubbard and Jon Pestoni,” 2014. Left: Alex Hubbard, Untitled, 2014. Right: Jon Pestoni, Split Beaver, 2014.

Alex Hubbard and Jon Pestoni

Eleni Koroneou Gallery

View of “Alex Hubbard and Jon Pestoni,” 2014. Left: Alex Hubbard, Untitled, 2014. Right: Jon Pestoni, Split Beaver, 2014.

This was not the first time Alex Hubbard and Jon Pestoni have collaborated. In 2010 they paired up for a show at Shane Campbell Gallery in Chicago, and in 2012 they produced a conversation between a “man” (in the role of the interviewer) and a “horse” (in the role of a painter) for Mousse magazine on the occasion of Hubbard’s exhibition at Galerie Eva Presenhuber in Zurich. In this colloquy they talk about painting’s “hardware,” and “particularly the recursive program known as Abstract Expressionism”—produced from “explosive formal innovations (qua Malabou’s plasticity),” which the horse-painter retrofits with “the readymade sense of contemporary art equipment (qua Gilles Deleuze’s stoic cybernetics).” They posit that an eager young dealer would spin the work by evasively positioning it as neither one thing nor another. This slipperiness is heightened in the jointly produced

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