Ertibil Bizkaia 2016
11 May - 03 Jul 2016
ERTIBIL BIZKAIA 2016
11 May – 03 July 2016
• The ERTIBIL BIZKAIA Travelling Visual Arts organised by Bizkaia Provincial Council, will kick off in Bilbao before going to Sestao, Durango, Lekeitio, Santurtzi, Gernika, Arrigorriaga, Derio, Ermua, Igorre and Elorrio.
• The awarded artists in the 34th ERTIBIL BIZKAIA are: Amaia Gracia Azqueta, Irantzu Yaldebere and Helena Goñi. Since it was first held in 1983, ERTIBIL edition has sought to support and promote emerging artists from the province who produce their creative work in Bizkaia.
• 109 artists, who have to be under 35, submitted works for this year’s contest. Twenty pieces from all the specialities have been selected by a jury to complete the ERTIBIL BIZKAIA 2016 exhibition. The members of the jury of professionals from the art world were Dani Castillejo (Director of the Artium Museum - Vitoria), Ane Rodríguez (Director of Tabakalera - San Sebastián) and the artists Zuhar Iruretagoiena and Abigail Lazkoz.
• The winners of the contest will receive €5,000 as the first prize, €4,000 as the second, €3000 as the third and the other selected artists will be given €2000.
THE EXHIBITION (*) Extracts from Mikel Onandia Garate’s article in the exhibition catalogue
Amaia Gracia Azqueta (Pamplona, 1985) unveils Paradis, a metal structure standing on the floor and against the wall, triangular in form, holding a black and white photograph of a spectacular glacier, where the plasticity of the snow-topped summits contrasts with the geometric formalism of the general frame. It belongs to the La Sublime series, a set of works that pays tribute to the first women mountaineers, such as Marie Paradis (1778-1839).
Using an approach based on contraposition and minimum resources, Irantzu Yaldebere (Bilbao, 1994) with Gora Arriba horizontalean manages to stimulate thinking about core issues from the origins of political philosophy, such as justice, legislation, government, freedom, rights or property, the legitimacy of their defence, and, particularly, their depiction and symbolisation.
Helena Goñi (Bilbao, 1990) has developed –from a biographical approach– the Tourniquet project, which after an initial phase focused on reflecting on the different ways of intimate bridge building between people in an online society, has shifted towards the study of the corporeality of relations and the affirmation that the senses, and fundamentally touch, are essential when understanding how human being treat each other.
In his work Music Movement, Carlos Alza (Montevideo, Uruguay, 1987) delves into the art-machine or oneness-reproduction relations based on a piece that seeks and needs to cause a response from the audience as an intervention to be complete. It is a wooden box, like a woofer, that continuously emits an irritating sound that attracts the attention of the spectators, who change it as they approach and move their hand around the loudspeaker.
The S.V.P.P.B. acronym from the Latin adage Si Vis Pacem Para Bellum [If you want peace, prepare for war], which caught on among young Basque thanks to the Hertzainak group in the 1980s and ‘90s, is the name chosen by Nora Aurrekoetxea (Bilbao, 1989) & Laura Ruiz (Bilbao, 1989) for this sculpture that comprises a cement katxi [750 ml glass] that evokes the phrase ‘jaia bai, borroka ere bai’ [partying yes, fighting as well], along with handling of black and white images as a collage, which make it difficult to read and propose alternate ways to read a file and construct personal narratives.
Los talleres de Mettray. the work by Leo Burge (London, 1991), consisting of irregular wire structures on cardboard modules, refers to Miracle de la Rose [Miracle of the Rose] (1946), the autobiographical novel that Jean Genet wrote in La Santé gaol where he starkly describes his life in prison, the reunion with the former lovers of his youth and his extreme experiences in the Mettray reformatory. The measurements of the workspace of the workshop at the Kalostra art school are the starting point for this work.
In Ni estatus ni estatuas –an analogue photograph digitally intervened and printed on a large canvas- Urtzi Canto (Bilbao, 1984) plays with the double image. Rotating the original photograph of the architectural construction and using it as a frame in which he inserts the circle, result in a balance composition and a suggestive chromatic contrast with the use of green on white and black - the visual paradigm of the past -, thus providing a subjective view of the allegedly objective view.
By referring to Chantal Akerman’s film of the same name that documents the Mexican wave of migration to the USA, Marion Cruza Le Bihan (Bilbao, 1982) in her video From the other side (de l’autre côté) stresses the concept of frontier – economic, physical, ideological or political line that separates or marks an extension – which is highly topical today.
By searching for a self-image as a starting point, the graphic exploration and probing and different experimental tenets brought Arantza Escondrillas Ugartondo (Llodio, 1992) to a pictorial series that result in abstract wefts exclusively and explicitly determined by forms, colours and spatial tensions.
The title Ateak zabalik? and the welcome instructions in different languages defines the ironic nature of the sculpture by Iñigo Garatu (Salamanca, 1990), created as a reaction to the immoral and illegal response of the European Union to the current refugee crisis.
On a long roll of paper, Eduardo Hurtado (Valladolid, 1986) gathers different fragments of profiles, remains of materials made out of metal that leave their own mark as the result of a procedure that conceptually recalls different reproductive practices, all of which are ways to encrypt, communicate or transfer wisdom and ideals on physical media.
After collecting and smelting pieces of shrapnel from partisan resistance groups to the south of the Apennines, Miriam Isasi (Vitoria-Gasteiz, 1981) with her work Asta de bandera antifa has created flagstaffs that she took to the anti-fascist militants in the San Lorenzo neighbourhood in Rome, who she photographed with the poles and their respective red silk flags.
A photograph from prior to the destruction of the Buddhas of Bamiyan sparked the aesthetic interest of Jone Loizaga (Bilbao, 1983) in iconoclastic actions, grounds for reflection and the starting point of her formal experimenting. The artist uses her sources to search for ways to create new symbolic contents by means of embossing.
Despite the use of materials – wood and ceramics - traditionally considered to be the domain of crafters, Uxue López Iruretagoyena has built a piece, Poliforma, of a non-hierarchical geometric regularity and monochrome surfaces that refute any manual evocation and subjective load.
In a moving wooden box, with its respective protective box, Gemma Martín Valdanzo (Valladolid, 1983) gathers part of the documentary information on the archaeology of the industrial landscape of the Leioa and Getxo area. A light box shows the geographical situation where the research was carried out, which has led to numerous study documents, photographic material, thoughtful texts and natural remnants such as plants or the remains of the type of soil collected where factories previously stood.
Edurne Martínez Arroyo (Bilbao, 1982) uses this folded canvas painted with black enamel and different shades of grey to reveal the essential value of the format, in this case irregular, that conditions the being of the pictorial work and the perception of the viewer, not exclusively from a two-dimensional perspective, but also by giving it volume.
The work of Estela Miguel (Cuenca, 1992) is noted to the disciplinary and technical hybridization directly related to the natural world, specifically to the biomorphic aesthetics defined by surrealism as both art evoking ideas and the primitive, sensual and subconscious.
Damaris Pan (Mallabia, 1983) does not see painting as representation but rather as an autonomous discipline without external references, as a subject in itself – a painting that, even in its most realistic works, speaks of painting-, focused on its own characteristics and thus exceeding the figuration/abstraction dichotomy.
A triangle lens structure on a wooden stand has a scanner hidden inside. After a wait of a few moments, the device begins to work; the moving optical reader and the prism enveloping it produce light reflections, refractions and decompositions creating visual effects and machine sounds, enhanced to a greater or lesser extent depending on the location of the viewer and the lighting of the room. Karla Tobar Abarca (Quito, Ecuador, 1981) thus explores different variables that a technological device may offer.
Using photographs and first-person accounts Diego Vivanco (Barakaldo, 1988) summarises in the video Istanbul International Electric his stay and experience in Istanbul, where he had a three-month grant for an artistic project. The grant itself and the nature of his project are precisely the core of the artist’s reflection.
11 May – 03 July 2016
• The ERTIBIL BIZKAIA Travelling Visual Arts organised by Bizkaia Provincial Council, will kick off in Bilbao before going to Sestao, Durango, Lekeitio, Santurtzi, Gernika, Arrigorriaga, Derio, Ermua, Igorre and Elorrio.
• The awarded artists in the 34th ERTIBIL BIZKAIA are: Amaia Gracia Azqueta, Irantzu Yaldebere and Helena Goñi. Since it was first held in 1983, ERTIBIL edition has sought to support and promote emerging artists from the province who produce their creative work in Bizkaia.
• 109 artists, who have to be under 35, submitted works for this year’s contest. Twenty pieces from all the specialities have been selected by a jury to complete the ERTIBIL BIZKAIA 2016 exhibition. The members of the jury of professionals from the art world were Dani Castillejo (Director of the Artium Museum - Vitoria), Ane Rodríguez (Director of Tabakalera - San Sebastián) and the artists Zuhar Iruretagoiena and Abigail Lazkoz.
• The winners of the contest will receive €5,000 as the first prize, €4,000 as the second, €3000 as the third and the other selected artists will be given €2000.
THE EXHIBITION (*) Extracts from Mikel Onandia Garate’s article in the exhibition catalogue
Amaia Gracia Azqueta (Pamplona, 1985) unveils Paradis, a metal structure standing on the floor and against the wall, triangular in form, holding a black and white photograph of a spectacular glacier, where the plasticity of the snow-topped summits contrasts with the geometric formalism of the general frame. It belongs to the La Sublime series, a set of works that pays tribute to the first women mountaineers, such as Marie Paradis (1778-1839).
Using an approach based on contraposition and minimum resources, Irantzu Yaldebere (Bilbao, 1994) with Gora Arriba horizontalean manages to stimulate thinking about core issues from the origins of political philosophy, such as justice, legislation, government, freedom, rights or property, the legitimacy of their defence, and, particularly, their depiction and symbolisation.
Helena Goñi (Bilbao, 1990) has developed –from a biographical approach– the Tourniquet project, which after an initial phase focused on reflecting on the different ways of intimate bridge building between people in an online society, has shifted towards the study of the corporeality of relations and the affirmation that the senses, and fundamentally touch, are essential when understanding how human being treat each other.
In his work Music Movement, Carlos Alza (Montevideo, Uruguay, 1987) delves into the art-machine or oneness-reproduction relations based on a piece that seeks and needs to cause a response from the audience as an intervention to be complete. It is a wooden box, like a woofer, that continuously emits an irritating sound that attracts the attention of the spectators, who change it as they approach and move their hand around the loudspeaker.
The S.V.P.P.B. acronym from the Latin adage Si Vis Pacem Para Bellum [If you want peace, prepare for war], which caught on among young Basque thanks to the Hertzainak group in the 1980s and ‘90s, is the name chosen by Nora Aurrekoetxea (Bilbao, 1989) & Laura Ruiz (Bilbao, 1989) for this sculpture that comprises a cement katxi [750 ml glass] that evokes the phrase ‘jaia bai, borroka ere bai’ [partying yes, fighting as well], along with handling of black and white images as a collage, which make it difficult to read and propose alternate ways to read a file and construct personal narratives.
Los talleres de Mettray. the work by Leo Burge (London, 1991), consisting of irregular wire structures on cardboard modules, refers to Miracle de la Rose [Miracle of the Rose] (1946), the autobiographical novel that Jean Genet wrote in La Santé gaol where he starkly describes his life in prison, the reunion with the former lovers of his youth and his extreme experiences in the Mettray reformatory. The measurements of the workspace of the workshop at the Kalostra art school are the starting point for this work.
In Ni estatus ni estatuas –an analogue photograph digitally intervened and printed on a large canvas- Urtzi Canto (Bilbao, 1984) plays with the double image. Rotating the original photograph of the architectural construction and using it as a frame in which he inserts the circle, result in a balance composition and a suggestive chromatic contrast with the use of green on white and black - the visual paradigm of the past -, thus providing a subjective view of the allegedly objective view.
By referring to Chantal Akerman’s film of the same name that documents the Mexican wave of migration to the USA, Marion Cruza Le Bihan (Bilbao, 1982) in her video From the other side (de l’autre côté) stresses the concept of frontier – economic, physical, ideological or political line that separates or marks an extension – which is highly topical today.
By searching for a self-image as a starting point, the graphic exploration and probing and different experimental tenets brought Arantza Escondrillas Ugartondo (Llodio, 1992) to a pictorial series that result in abstract wefts exclusively and explicitly determined by forms, colours and spatial tensions.
The title Ateak zabalik? and the welcome instructions in different languages defines the ironic nature of the sculpture by Iñigo Garatu (Salamanca, 1990), created as a reaction to the immoral and illegal response of the European Union to the current refugee crisis.
On a long roll of paper, Eduardo Hurtado (Valladolid, 1986) gathers different fragments of profiles, remains of materials made out of metal that leave their own mark as the result of a procedure that conceptually recalls different reproductive practices, all of which are ways to encrypt, communicate or transfer wisdom and ideals on physical media.
After collecting and smelting pieces of shrapnel from partisan resistance groups to the south of the Apennines, Miriam Isasi (Vitoria-Gasteiz, 1981) with her work Asta de bandera antifa has created flagstaffs that she took to the anti-fascist militants in the San Lorenzo neighbourhood in Rome, who she photographed with the poles and their respective red silk flags.
A photograph from prior to the destruction of the Buddhas of Bamiyan sparked the aesthetic interest of Jone Loizaga (Bilbao, 1983) in iconoclastic actions, grounds for reflection and the starting point of her formal experimenting. The artist uses her sources to search for ways to create new symbolic contents by means of embossing.
Despite the use of materials – wood and ceramics - traditionally considered to be the domain of crafters, Uxue López Iruretagoyena has built a piece, Poliforma, of a non-hierarchical geometric regularity and monochrome surfaces that refute any manual evocation and subjective load.
In a moving wooden box, with its respective protective box, Gemma Martín Valdanzo (Valladolid, 1983) gathers part of the documentary information on the archaeology of the industrial landscape of the Leioa and Getxo area. A light box shows the geographical situation where the research was carried out, which has led to numerous study documents, photographic material, thoughtful texts and natural remnants such as plants or the remains of the type of soil collected where factories previously stood.
Edurne Martínez Arroyo (Bilbao, 1982) uses this folded canvas painted with black enamel and different shades of grey to reveal the essential value of the format, in this case irregular, that conditions the being of the pictorial work and the perception of the viewer, not exclusively from a two-dimensional perspective, but also by giving it volume.
The work of Estela Miguel (Cuenca, 1992) is noted to the disciplinary and technical hybridization directly related to the natural world, specifically to the biomorphic aesthetics defined by surrealism as both art evoking ideas and the primitive, sensual and subconscious.
Damaris Pan (Mallabia, 1983) does not see painting as representation but rather as an autonomous discipline without external references, as a subject in itself – a painting that, even in its most realistic works, speaks of painting-, focused on its own characteristics and thus exceeding the figuration/abstraction dichotomy.
A triangle lens structure on a wooden stand has a scanner hidden inside. After a wait of a few moments, the device begins to work; the moving optical reader and the prism enveloping it produce light reflections, refractions and decompositions creating visual effects and machine sounds, enhanced to a greater or lesser extent depending on the location of the viewer and the lighting of the room. Karla Tobar Abarca (Quito, Ecuador, 1981) thus explores different variables that a technological device may offer.
Using photographs and first-person accounts Diego Vivanco (Barakaldo, 1988) summarises in the video Istanbul International Electric his stay and experience in Istanbul, where he had a three-month grant for an artistic project. The grant itself and the nature of his project are precisely the core of the artist’s reflection.