Ignasi Aballí (Barcelona, 1958) received his Fine Arts degree from the University of Barcelona in 1981. His work has been exhibited in the Drawing Center (New York), Printemps de Septembre (Toulouse) and at the Venice Biennale in 2007. It has also been shown in museums such as the Serralves Museum (Oporto), the Ikon Gallery (Birmingham) and the ZKM (Karlsruhe, Germany).
Since the late eighties, his work has developed around two apparently contradictory lines of practice. The first of these is the exploration he began at the beginning of his artistic career into minimal activity, minuscule gesture and the most imperceptible modification, a concern that reveals an anti-formalism he shares with other members of his generation. The second line Aballí has followed is a cultivation of fiction as material an as a means of locating his work. In this, he has much in common with those who, in the late eighties, helped to place film and video at the centre of art scene. Aballí’s work also drinks of the excess of images and discourses of the moment, seeming to seek the negative of this quantitative increase, to find intensity of content: ‘doing more with less’.
Whilst in his early work Aballí employed the practice of the pictoric system, he soon began to move towards acts and conditions of production that distanced him from the typical problems and configurations of those times, from investigations into the limits and the frontiers of representation. On the one hand, we find works in which the artist disappears as a subject and allows the accumulation of dust or the sun’s corrosive action on the materials to form them. On the other, we are confronted by an artist who meticulously collects, inventories and arranges information from the newspapers, gathers images reproduced to infinity or pays homage to the anonymity of others turning them into the creators of illegible images.
Many of Aballí’s works are remade each time they are shown: they are remade with their materials, and under the conditions of perception and interpretation that are always associated with them.