Julio Hilger's works, anchored in an aesthetic of the monstrous, show two very characteristic and complementary areas of interest: on the one hand, a formal inclination for the handling of a sculptural language that mainly uses clay in different states, but also ceramics. , wax, paraffin, plaster, paper, and cardboard; and, on the other, a sustained reflection on the ability of art to shape and semanticize evanescent figures, minor characters and discarded objects. Thus, his work does not cease to unfold a universe of small and large-scale amorphous creatures in which the possibilities of these poor materials are extreme. In this way, he configures a kind of trance eschatology, a chaotic, organic and provisional microworld where objet trouvé, trash and kitsch coexist randomly.
Julio Hilger was selected to be part of the Artists Program at the Torcuato Di Tella University, directed by Inés Katzsenstein, where he did the work clinic workshop by Mónica Girón in 2016. He attended a construction clinic with Silvia Gurfein, Valeria Maculán, Sergio Bazán and Tulio de Sagastizábal; and also atended to Guillermo Roux, Eduardo Stupía and Pablo Siquier workshops. Hilger participated in the first edition of FACA – Contemporary Art Fair, Buenos Aires, and the group exhibitions La Piedra Fundamental in NN Galería, La Plata, and Relational Practices: Displacement and Exchange as an Exhibition Platform at the Hotel Dorá in Córdoba, curated by Georgina Valdez.