Martin Soto Climent at Michael Benevento & Yuji Agematsu at The Power Station

(link: Martin Soto Climent, Yuji Agematsu)

The enrapture of sensitivities, enwrapment, a container allowing movement, transaction. The Amazon box that allows its sales; cardboard a larger problem than the items it contains. The packaging that makes up the mass majority of waste.  Shouldn't we be speaking more of wrapper than "content", the mass majority of garbage that we have become hostages who love their captors to, enshrine odes to our hurt.

Nancy Lupo at Kristina Kite & Yuji Agematsu at Miguel Abreu, Yuji Agematsu at Real Fine Arts,  Yuji Agematsu at Artspeak, “May the Bridges I Burn Light the Way” at STANDARD (OSLO, Martín Soto Climent at Proyectos Monclova, Martín Soto Climent at DREI, Martin Soto Climent at Atlantis

Martin Soto Climent at Atlantis

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The gesture given frame, cradle for its image, able to be sent, transacted. The clear delineation of artistic parameters allow fungibility. Soto Climent's sensitives haven't always been so packaged. The packaging lends a sentimentality, a hope for stasis, permanence, removed from the chaotic world into an order, like butterflies pinned to boards, like a new gallery seemingly without website finding itself well represented on white backdrops.


See too: Martín Soto Climent at Proyectos Monclova

Martín Soto Climent at DREI

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Coerced intimacy in sentimental sizes, there's an affection. Not that Soto Climent has always made small soft objects, there have been large pointed ones as well. But its not the way you touch the thing but they way your body scales next to them. Like Lulu, founded by Soto Climent, the tiny is given to a warmth, a scale of proximity, of being close.


see too: Martín Soto Climent at Proyectos Monclova

Martín Soto Climent at Proyectos Monclova

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The most direct rules of inanimate erotics are first that the object be becoming flesh, and second exemplifying the curve of inside into out, curving exterior into insides, an expression of explicit vulnerability distinct to the anthropomorphic.
Soto has always loved the curves and the fleshy fabric, but the transitional state of the objects isn't not so much a becoming-subject of the abject, but instead a faint pubescence of gender, objects just arriving at a split, a fork budding a semblance of female or male possibility, blushing blues and corpulent pinks.


See too: Torbjørn Rødland at Henie-Onstad Kunstsenter, Lucy Skaer at Murray Guy, Katja Novitskova at Kunsthalle Lissabon