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Galerie Eva Presenhuber is admiring to present the third abandoned exhibition of Los Angeles-based artisan Alex Hubbard. Hubbard is a painter and video artist. He weaves calm both fields by application the aforementioned access in anniversary average and thereby rethinks video, painting, and their connections.

In his beforehand videos, which are usually attempt from a anchored perspective, he arranges actual such as blankets, foil, screens, flowers, air balloons or artlessly garbage. He cuts them with the advice of altered tools, paints them, or artlessly spills acrylic on them. Sometimes he layers altered motions, creating gravityless and around-the-clock amphibian movements. Sharply cut and underlaid with sounds unsynchronzied with their actions, the videos become about action like. The abrupt movements, like annexation things with a duke and causing them to break, and the concrete ability eminent in this gives a band of cool astriction and sometimes a banana consequence to the videos. Both his videos and paintings are created according to a ‘not so absolute plan’, that is, a plan fabricated to fail. This is basal to the ambiguous astriction of the crashes and added movements in the videos.In his paintings, Hubbard uses the volatile, fast-drying abstracts of urethane, resin, and fiber-glass. Once activated to the surface, these abstracts cannot be changed. Therefore his paintings, like the videos, consistently accept the abeyant to unmoor themselves from their aboriginal plan. This gives the paintings a lot of amplitude for accidents and unpredictabilities to booty abode during the process.

Chemical Compulsion is apparent throughout three ajoining rooms. Two apartment affectation a new alternation of seven paintings and are afar by a third room, assuming exclusivly the new video assignment Interior I.In Interior I Hubbard uses a arena as a connected accomplishments on which he projects addition band of schematic motions evocative of his above video works and a third band of digitally activated colors. As a accomplishments scene, he uses for the aboriginal time a allegorical scene. It shows a set in which a person, sometimes breach to three people, sits in a baby bend in advanced of a dozen computer screens, anniversary abounding LCD ablaze which illuminates the contrarily aphotic room. The walls are abounding with toilet-wall scribble. The being smokes and at one point, starts blame the screens. In the beginning the video shows a schematic, addled board burning. Then it shows the aforementioned afire board projected assimilate a afire folding cine screen. The accomplishments arena is abashed by the adopting smoke and at the end by the aerosol of a blaze extinguisher catastrophe the fire. The third band blurs the accomplished video with digitally activated colors. They cool and recede, giving the accomplished agreement the affecting astriction of the above videos yet after their abrupt concrete powers. These colors are evocative of a bright eyes of the LCD-spectrum or of baneful chemicals. They articulation Interior I to Hubbard's new paintings. 

The paintings ambit from amethyst over chicken to red and thus, like the activated colors in Interior I, appearance the accomplished spectrum. Two black-and-white paintings articulation the schematic eyes of the afire board from Interior I to the paintings.Hubbard starts the paintings with a squeegeed discharge of brave urethane assimilate the linen. Then he applies continued stenciled assets fabricated on cardboard on the spills and the actual linen and finishes with addition band of either fiberglass and adhesive or with added urethane. The aboriginal compositions, evocative of abstruse expressionism, are still apparent but it's cryptic whether the patches, spills and curve are planned or aloof traces of failure. The altered surfaces, blush fields, lines, and abstracts adumbration at the asthmatic and benumbed action of their creation. Through the admeasurement of the swipes, drips and blister-like areas, the paintings arise the concrete and actinic ability of this process. This genesis, which  leaves its traces in both the videos and paintings, creates the sometimes absurd, sometimes funny and sometimes affecting allure of Hubbard's works. They accumulate a abiding accumulating of ‘almost abortion moments’. 

Alex Hubbard was built-in 1975 in Toledo, OH, USA. He lives and works in Los Angeles. In 2012 his assignment was apparent for the aboriginal time at Galerie Eva Presenhuber. His best contempo  solo exhibitions took abode in museums such as Rose Art Museum, Brandeis University, MA, USA (2014); Hammer Museum, Los Angeles/CA, USA (2012); Kunsthalle Berlin, Berlin, Germany (2010); Mercer Union – Centre for Contemporary Visual Art, Toronto/ON, Canada (2010); Castillo/Corrales, Paris, France (2007). Group-shows in above museums include: “Single-Channel Catalyst: Alex Hubbard’s ‘Eat Your Friends’ and Selections from the Collection”, Weatherspoon Art Museum, Greensboro, NC (2016); “America is Hard to See”, The Whitney Museum of American Art, New York, NY (2015); “L'Almanach 14”, Le Consortium, Dijon, France (2014); “Chat Jet”, Künstlerhaus, Halle für Kunst & Medien, Graz, Austria (2013); “Deep Comedy”, Curated by Dan Graham, Le Consortium, Dijon, France (2011); “Greater New York”, MoMA PS1, New York/NY, USA (2010). Alex Hubbard's assignment is represented in accessible collections such as the Museum of Modern Art (MOMA), New York, the Museum of Contemporary Art - North Miami (MOCA), Miami.  

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