Peter Halley on the Path

In the work of Peter Halley (New York, 1953), geometry is transformed into a critique of the isolation and rigidity of the contemporary world, which through rectangular cells and industrial textures, turns the abstract into a reflection on the architecture of power and social isolation. This ability to use seemingly simple forms to address complex themes is evident in 'The Long Game', an exhibition that marks a new milestone in the relationship of more than three decades between the American artist and the Senda gallery.

Inaugurated on December 12, the exhibition is a tribute to this fruitful collaboration and at the same time an invitation to reinterpret the exhibition space. The monumental painting that gives the exhibition its name is a work of almost five meters wide, created for the exhibition, which seems to expand Halley's iconic cells and contrasts with a series of eight smaller-format paintings.

'The long game', Peter Halley (2024)

With 'The Long Game', Halley physically transforms space, and as throughout his career, explores the psychological impact of the urban and digital environment. His vision, often described as dystopian, reinterprets the roots of geometric abstraction. Where the pioneers of this tradition sought a utopian rationality, Halley sees a metaphor for social control and alienation, a recurring theme since he came to prominence in the mid-1980s as a leading figure in Neo-Conceptualism.

This exhibition coincides with the retrospective 'Peter Halley in Spain', at the Museo Nacional Thyssen-Bornemisza in Madrid, which brings together emblematic works from public and private collections, including institutions such as the Museo Reina Sofía, which already dedicated a retrospective to him in 1992.

Senda is the first gallery in Barcelona to present Halley's works with 'The Long Game', an exhibition that reaffirms the validity of his artistic language that continues to challenge structures.

'Orange prison', Peter Halley (2024)