Sin principio / sin final (without beginning or end) is an anthological exhibition of the work of the artist Ignasi Aballí (Barcelona, 1958). Curated by João Fernandes, it was held at the Museo Nacional Centro de Arte Reina Sofía from October 2015 to March 2016 and featured a few works that were shown for the first time. The show is now travelling to the Museo de Arte de la Universidad Nacional de Colombia, in Bogotá, with the support of AC/E. The new version is curated jointly by João Fernandes and the university museum’s director, María Belén Sáez de Ibarra.
Ignasi Aballí’s work constantly challenges the spectator’s attention and perception. Using strategies characteristic of conceptual art, such as text, files and documents, his projects subvert the distinctions between artistic genres like painting, literature, photography, installation, cinema and video and likewise question the system of representational conventions of artworks and the cultural or economic value of objects.
Since starting out in the 80s, he has focused on a number of constant features and concerns: inventing and reorganising texts, images, materials and processes and contrasting presence and absence, the material and the immaterial, the visible and the invisible, transparency and opacity, and appropriation and creation. He thus relates the excess of images in today’s society with the scarcity of meanings attributed to them.
Ignasi’s work combines pieces with a powerful critical content by using everyday referents to allude to the showing of his work and the interplay of the spectator’s perception.
Ignasi Aballí’s work constantly challenges the spectator’s attention and perception. Using strategies characteristic of conceptual art, such as text, files and documents, his projects subvert the distinctions between artistic genres like painting, literature, photography, installation, cinema and video and likewise question the system of representational conventions of artworks and the cultural or economic value of objects.
Since starting out in the 80s, he has focused on a number of constant features and concerns: inventing and reorganising texts, images, materials and processes and contrasting presence and absence, the material and the immaterial, the visible and the invisible, transparency and opacity, and appropriation and creation. He thus relates the excess of images in today’s society with the scarcity of meanings attributed to them.
Ignasi’s work combines pieces with a powerful critical content by using everyday referents to allude to the showing of his work and the interplay of the spectator’s perception.
