SABOT

Nicolás Lamas — "Ultra fines corporis"

June 11 - August 3, 2026
Opening: Thursday, June 11, 7pm

To exist is to be exposed. Exposed to time, to pressure, to language, to technology, to the gaze, and to the influence of other material agents. The skin does not separate interior from exterior in any absolute sense. Rather than a boundary, it is a zone of exchange where such distinctions begin to dissolve. Nothing touches a body without altering it. Every proximity produces an inscription, however subtle. Matter retains the memory of encounters through tension, wear, and traces that surface in different degrees of transformation. [excerpt from the exhibition text]

ALICE TOMASELLI
"Bitten canvas" (series)
2013—
mixed media on canvas, stretcher bitten by the artist
46 X 38.5 cm

We’re pleased to announce that Daniel Moldoveanu is a recipient of this year’s Krull Stiftung grant, along with Hanna Stiegeler and Niclas Riepshoff.

Conceived as a framework for time rather than output, the grant supports artists in developing new work and extending their practice beyond immediate constraints.

Photo by Birk Alisch, 2025.

Poetrick No.2620
2025
archival pigment print on Hahnemühle paper
42 x 29.7 cm

Engineered Null (alpha channel)
2026
industrially produced polyester fabric,
aluminium, steel, silicone rope, concrete bricks, industrial wheels
220 × 175 × 175 cm

[ on view through June 6, 2026, as part of "Wild at Heart and Weird on Top", curated by ]

photo credit: .studio

SABOT .fair 2026, showing works by Nicolás Lamas & George Bularca Negru.

[ Photos by: .studio ]

NICOLÁS LAMAS


Whale
2025
archival pigment inkjet print on Hahnemühle paper
103 x 150 cm

Becoming instrument
2025
paper, metal, canvas
41 x 33 cm

Parallel worlds
2025
National Geographic magazine
25 x 35 cm

Impact zone (series)
2023
airbag recovered from car crash
38 x 28 cm

Extension
2024
wood, human bone
approx. 15 x 90 cm

GEORGE BULARCA NEGRU sleep

Untitled (heterogen)
2026
monotype frottage on Arches 88 cotton paper
diptych – 41 x 31 (each, framed)

Verso Recto (Indigo) I
2026
monotype frottage over silkscreen on Arches 88 cotton paper
61 x 41 cm (framed)

Verso Recto (Indigo) IV
2026
monotype frottage over silkscreen on Arches 88 cotton paper
61 x 41 cm (framed)

Ochiul Minții 004k3
2026
illuminated porcelain
maximum diagonal 27 cm

Pepo Salazar Lacruz
"POINT RELAIS"
Pols, Valencia, ES
Feb 28th - May 17th, 2026

Curated by: Carles Àngel Saurí, Maria Domenech, Néstor García, Empar Polanco and Miguel Rubio

Photos: David Zarzoso, courtesy of the artist
and Pols, Valencia

"Point Relais is a reconfiguration operation in which the artist, Pepo Salazar Lacruz, develops a series of sculptural exercises of unresolved and fragmentary forms. From the fragment, a play of insinuations takes effect, inviting the public/reader/viewer to reconstruct the totality of the object. In Point Relais, the fragment acts as a vector that materially inscribes a historical structure through apparently neutral gestures.
The wrappers insist on an interface logic: packaging precedes the object (and exceeds its use). Reduction reaches its most literal degree in the compositions of chip bag corners, where the instructions “open here” or “easy-to-open” persist. These formulas design our gesture and regulate our actions, demand an already learned choreography; a series of repeated movements that naturalise certain postures. Relations are bounded, akin to the mechanisms of abstraction of capital — capable of converting networks of social relations into autonomous signs such as money or brands. Yet in the repetition and decontextualisation operated by the artist, that regulatory function is suspended.
The traffic signs remain, but they no longer return instructions. Even so, they do not stop proposing a rhythm. They theatricalise their presence now that they have ceased to be reflective. They have stopped offering a clear solution and from this negative position, they operate. In doing so, they disengage from universal standardisation. The rhythm is marked by a course of variations and repetitions. Salazar Lacruz articulates this through his creative process; when he approaches comfort and glimpses a recognisable code, he changes the pattern. This erratic trajectory could be told through a road trip — at dusk, the car headlights present the traffic signs to you in the most scenic way. They maintain a tempo, that of appearance, but now they answer nothing." (excerpt from the exhibition text)