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Galeria Carles Tache


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Installation view. Galeria Carles Tache, July 2018

Netai Halup’s work proposes anarchitectural fields of intensities. The bodies found through his praxis are exposed to a relational intensity that exists within the fragility of their own thingness. When we see his work, we aren’t just seeing the objects there, we are rather witnesses exposed to a moment of touch, to an imperceptible state of contact, we are there at the instant of an encounter where a critique is materially displayed, in an aberrant motility. This perceived raw tension is a skin from where Halup’s praxis eventually happens. Like hanged bodies in exhaustion, these actions appear to increase the environmental continuity through solidary cuts. The given and known space, where bodies are, is forced by the bodies themselves, performing fragile intensities that make visible an incorporeal metastasis

In Halup’s works exist an intensity for delineating inscriptions of connections. In that condition of the almost-nothingness that the things Halup decides to use, the connections produced convoke a poetic of precarity. But this precarity is that of their weights performing instability throughout the constantly happening space. The things find themselves at the skin of the space, exposed in their naked gathering of touches. Like a theater of suspension, where apparently nothing is happening, at least nothing to the daily capitalistic counting of life, the convoked things enable a spacing that happens to be force like a thin skin doubling the unseen reality in silence around.


Luis Guerra

Full text in English


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Certainly One Shouldn't Negate Reality as Such

Oil paint, sawdust, pigment and cement on canvas, ropes.


Open Letter to a Limited Surface

Oil on canvas, stretchers, cement and ropes.


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Under Pressure

Oil on wood, found frame, rope


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In tension (divided)

Oil on wood, rope and a rock

Site specific installation

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In Tension (a log and a rock

Oil on wood, rope and a rock, cement pedistle

Site specific installation

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