Iñaki Gracenea
14 Nov 2013 - 25 Feb 2014
IÑAKI GRACENEA
Memorabilia
14 November 2013 - 25 February 2014
The most recent projects completed by Iñaki Gracenea have had as a main thread video surveillance, by pressing concepts such as violence, freedom, control and privacy. Their projects P/M/P, present Cams, or Shadows, have taken issue with the different aspects of video surveillance with all the contradictions that arise from this practice, supposedly to determine the commission of crimes, but, in turn, cut of the rights and liberties of citizens. The interest that Iñaki Gracenea has on circumstances that produced the video surveillance as a tool of power, has been accompanied in the different works that have been carried out by the use of painting; understanding this discipline as a means to cross and direct wondering how images are created and the value of them. These works reflect from different angles, various control structures, where the artist has gone from the virtuality of the images to the systems of control that invade our environment.
“Memorabilia”, title of the exhibition that is presented, raises a series of images and objects based on situations and violent actions. Exposed in a collection way, the symbolism of our imaginary in relation to these acts is confronted with the appearance of the works. These small collections demonstrate violence (passive and active), freedom, control, the individual, the group, the community, the punishment, the routine..., offered from a beauty point of view what is collectible, in some cases almost close to the idea of a giftshop. Paintings, drawings, carvings, sculptures, engravings and structures that are converted in planes, postal cards, porcelains, trays, silversmithing and archive documents.
A wide selection of prisons of the nineteenth century arranged next to a few trays with the drawings of the plants of the same structures introduce us in this universe. The views of the prisons painted in black and white create an amalgam of functional forms in an organic way, prisons that derive from the panopticon of Bentham and that will be built with aesthetic differences but keeping the same schema. Between all of them there is a structural relationship, we could say that they fall within the same gender but belong to different species. The images of the prisons in a postal card way and the side trays (commemorative) of food with the drawing of the prison with the recorded date of creation of the prison. Two situations of punishment, the space in which they are locked up in and the tray of food as a metaphor for the daily routine that they will live until the end of the sentence.
This part of the exhibition could be understood as a starting point of the show which takes us to another room where we are shown a new prison, the shapes resemble the previous one but the structure indicates that this is a recent construction, there is a registry change to the image, to its side ten stainless steel arms await us. These objects are replicas of weapons seized to inmates, the transformation suffered in these with respect to the precariousness of the original image of the power tool to kill but, in the same way, their structure takes us back to the collection.
Finally we arrive to a table full of everyday objects more or less recognizable, all of which are painted in the same way by simulating a glazing that cancels the practical use that they might have. We stand before the definition of this group and we ask ourselves why, some overlaid disorderly drawings in file mode inform us about the use of these items. They were part of violent crimes, of a violent reaction not intended. All of them contain a weapon "ready-made".
Gracenea works with how the images are constructed, how we read them and how we perceive them, in all of this he has always sought to find a surprise where the image, the object will reinvent themselves through the chosen medium. In the latter project he recreates situations where the data, the footprints, the information allow the viewer new readings of predetermined schemes. Through many different languages, unites and shorts out a speech where there is no imposition on a single moral solution. Let us not stop collecting.
Iñaki Gracenea (Hondarribia, 1966), graduated in Fine Arts from the University of the Basque Country in the specialty of painting. He has exhibitied in Institutions such as Sala Rekalde of Bilbao, CGAC (Transfer), Koldo Mitxelena Kulturunea of San Sebastián (Abismos).Bienal Martínez Guerricabeitia,Valencia, El fin de la historia, Domus Artium, Salamanca. La Regenta, Las Palmas de Gran Canaria. Museum voor Moderne Kunst Arnhem - MMKA, Arnhem (Try Again), La Casa Encendida, Madrid (Painting as Paradox), Artist Space, Nueva York (Existencias), Musac - Museo de Arte Contemporáneo de Castilla y León, Léon (Surrounding), Espai Quatre, Palma de Mallorca. He has participated in important international fairs such as ARCO (Madrid), ARTbogota (Bogotá), ARTISSIMA (Torino), Zona Maco (Mexico D.F), Art Brussels (Brussels), Vienna Fair (Vienna), Art Dubai (Dubai), FIAC (Paris). He has won among other prices The Premio Generación 2006 of Caja Madrid, The Beca Botín in 2002 and Beca CAM de Arte Plásticas 2009. His works are in Museums such as Museo ARTIUM of Vitoria, La Colección Unión Fenosa of La Coruña, The Colección Arte Contemporáneo Wurth, The Colección CAM of Valencia, The Colección Caja Madrid, The Colección MUSAC, Colección AENA, The Colección Banco de España and The Colección Ayuntamiento de Pamplona among others.
Memorabilia
14 November 2013 - 25 February 2014
The most recent projects completed by Iñaki Gracenea have had as a main thread video surveillance, by pressing concepts such as violence, freedom, control and privacy. Their projects P/M/P, present Cams, or Shadows, have taken issue with the different aspects of video surveillance with all the contradictions that arise from this practice, supposedly to determine the commission of crimes, but, in turn, cut of the rights and liberties of citizens. The interest that Iñaki Gracenea has on circumstances that produced the video surveillance as a tool of power, has been accompanied in the different works that have been carried out by the use of painting; understanding this discipline as a means to cross and direct wondering how images are created and the value of them. These works reflect from different angles, various control structures, where the artist has gone from the virtuality of the images to the systems of control that invade our environment.
“Memorabilia”, title of the exhibition that is presented, raises a series of images and objects based on situations and violent actions. Exposed in a collection way, the symbolism of our imaginary in relation to these acts is confronted with the appearance of the works. These small collections demonstrate violence (passive and active), freedom, control, the individual, the group, the community, the punishment, the routine..., offered from a beauty point of view what is collectible, in some cases almost close to the idea of a giftshop. Paintings, drawings, carvings, sculptures, engravings and structures that are converted in planes, postal cards, porcelains, trays, silversmithing and archive documents.
A wide selection of prisons of the nineteenth century arranged next to a few trays with the drawings of the plants of the same structures introduce us in this universe. The views of the prisons painted in black and white create an amalgam of functional forms in an organic way, prisons that derive from the panopticon of Bentham and that will be built with aesthetic differences but keeping the same schema. Between all of them there is a structural relationship, we could say that they fall within the same gender but belong to different species. The images of the prisons in a postal card way and the side trays (commemorative) of food with the drawing of the prison with the recorded date of creation of the prison. Two situations of punishment, the space in which they are locked up in and the tray of food as a metaphor for the daily routine that they will live until the end of the sentence.
This part of the exhibition could be understood as a starting point of the show which takes us to another room where we are shown a new prison, the shapes resemble the previous one but the structure indicates that this is a recent construction, there is a registry change to the image, to its side ten stainless steel arms await us. These objects are replicas of weapons seized to inmates, the transformation suffered in these with respect to the precariousness of the original image of the power tool to kill but, in the same way, their structure takes us back to the collection.
Finally we arrive to a table full of everyday objects more or less recognizable, all of which are painted in the same way by simulating a glazing that cancels the practical use that they might have. We stand before the definition of this group and we ask ourselves why, some overlaid disorderly drawings in file mode inform us about the use of these items. They were part of violent crimes, of a violent reaction not intended. All of them contain a weapon "ready-made".
Gracenea works with how the images are constructed, how we read them and how we perceive them, in all of this he has always sought to find a surprise where the image, the object will reinvent themselves through the chosen medium. In the latter project he recreates situations where the data, the footprints, the information allow the viewer new readings of predetermined schemes. Through many different languages, unites and shorts out a speech where there is no imposition on a single moral solution. Let us not stop collecting.
Iñaki Gracenea (Hondarribia, 1966), graduated in Fine Arts from the University of the Basque Country in the specialty of painting. He has exhibitied in Institutions such as Sala Rekalde of Bilbao, CGAC (Transfer), Koldo Mitxelena Kulturunea of San Sebastián (Abismos).Bienal Martínez Guerricabeitia,Valencia, El fin de la historia, Domus Artium, Salamanca. La Regenta, Las Palmas de Gran Canaria. Museum voor Moderne Kunst Arnhem - MMKA, Arnhem (Try Again), La Casa Encendida, Madrid (Painting as Paradox), Artist Space, Nueva York (Existencias), Musac - Museo de Arte Contemporáneo de Castilla y León, Léon (Surrounding), Espai Quatre, Palma de Mallorca. He has participated in important international fairs such as ARCO (Madrid), ARTbogota (Bogotá), ARTISSIMA (Torino), Zona Maco (Mexico D.F), Art Brussels (Brussels), Vienna Fair (Vienna), Art Dubai (Dubai), FIAC (Paris). He has won among other prices The Premio Generación 2006 of Caja Madrid, The Beca Botín in 2002 and Beca CAM de Arte Plásticas 2009. His works are in Museums such as Museo ARTIUM of Vitoria, La Colección Unión Fenosa of La Coruña, The Colección Arte Contemporáneo Wurth, The Colección CAM of Valencia, The Colección Caja Madrid, The Colección MUSAC, Colección AENA, The Colección Banco de España and The Colección Ayuntamiento de Pamplona among others.