Andreas Slominski at Proyectos Monclova & Barbel Graesslin

(Proyectos Monclova, Barbel Graesslin)

Looking at dead things, torn from their living context, trapped under ethyle acetate in the kill jar's sterile light and pinned to walls to make a butterfly collection. A collection we understand culturally to hold meaning for the belief in the docents and researchers behind it. But they mean only what we know about them, and the objects sparkle. Like dead butterflies, Monoliths, and signifiers, blank beautiful entrapments.


See too: Andreas Slominski at Thaddaeus Ropac, “Seven Reeds” at Overduin & Co.,

Martín Soto Climent at Proyectos Monclova

(link)

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