When Ignasi Aballí began his career in the late eighties, it was linked to the practice of painting. He soon took up the conceptual currents to question elements of painting itself such as representation, the support or the pictorial material in works in which the artist disappears: leaving pots of paint to dry or pictures in which the image is the result of the traces of the sun on the canvas. As a response to the crisis of representation in art or the impossibility of representing anything (common to writers with the same concerns such as Perec or Enrique Vila-Matas) he began series such as Mistakes, in which he blots out the surface of the picture with Tipp-Ex, or others done mechanically using newspaper clippings on the basis of the information they contain. In the exhibition Desapariciones (Disappearances) at the Centro de Arte Reina Sofía in 2002 he introduced elements from the cinema with which he would embark on a broader reflection on the image in contemporary society. A twofold concern, with the image and the status of painting, shaped the itinerary of his exhibition at MACBA in 2005, which travelled to the Museo Serralves in Oporto and the Ikon Gallery in Birmingham. His work will be included in the official selection at the 2007 Venice Biennale.
David G. Torres