Sala Rekalde

Ertibil Bizkaia 2017

16 Jun - 10 Sep 2017

16 June - 10 September 2017

The ERTIBIL BIZKAIA Touring Exhibition of Visual Arts organised by Bizkaia Provincial Council will start in Bilbao and will then be taken to the municipalities of Lekeitio, Leioa, Basauri, Bermeo and Barakaldo.

The prize-winning artists in the 35th ERTIBIL BIZKAIA are: Sahatsa Jauregi Azkarate, Iñigo Varona Sánchez and Karlos Martinez B. Since it was first held in 1983, ERTIBIL has sought to support and promote emerging artists from the province who produce their creative work in Bizkaia.

83 artists, who have to be under 35, submitted works for this year’s contest. 15 pieces from all the specialities have been selected by a jury to make up the 2017 ERTIBIL BIZKAIA exhibition. The members of the jury of professionals from the art world were Lucía Agirre (Curator of the Guggenheim Museum Bilbao), Amaia Gracia Azqueta (artist) and Leyre Goikoetxea (independent curator).

The winners of the contest will receive €7,000 as the first prize, €5,000 as the second, €4,000 as the third and the other selected artists will be given €2,000 each.

[Extract from Leyre Goikoetxea's text in the exhibition catalogue]

The winning work of Ertibil 2017 is somewhere between sculpture, photography, textile and, even, installation. Consisting of 27 prints on fabric, it shows the same number of altars previously created and photographed by SAHATSA JAUREGI (Salvador de Bahía, Brasil, 1984). The artist has here validated a long process of gathering items of certain interest for her purpose: obsolete goods, near their expiry date in time, though still impossible to call vintage, parts of outdated toys, cheap copies and "plastic as alchemic material", in the words of the artist herself. It is about reusing those items thrown away by today's society to create a type of trophies that gravitate between the kitsch and humour.

Particular del Norte is a street in Bilbao which forms a triangle with Bailén and San Francisco, even though it is the least known of the three. IÑIGO VARONA (Valladolid, 1988) uses sculpture, and more specifically ceramics, to analyse the evolution of that street. Some of the buildings are highlighted in the form of a model and tiles are also used for the fragmented recreation of two of their signs. They seem to be F. Urrestarazu Wines-Oils and Pedro Tejada Oils and Spirits. The latter is home to the studio of the artist, who working in a similar way to that of an archaeologist, but focusing further afield, adds to that research the artistic item that makes the memory of the place endure.

Don’t worry, you can’t get lost down here. These words of encouragement by a speleologist to one of her companions as they were entering a cave are used by KARLOS MARTINEZ B. (Bilbao, 1982) as the title of this group of sculptures. It consists of a translucent green organic shape trapped in a rectangular iron maze, two glasses that levitate thanks to the tension between the iron, and fragmented earthenware trapped in plaster, as if it were an archaeological relic.

By means of what seem to be abandoned and folded canvases, we can perceive a mountainous landscape of plastic or materials that do not seem to be very nature friendly if we do not take part in their destruction or recycling. In this image with the appearance of a picture, despite being a photograph, NAGORE AMENABARRO IRASTORZA (Amezketa, Gipuzkoa, 1986) manages to transmit codes and textures inherent of more traditional painting. A set of fluted lights and shadows that recall classical sculpture.

NORA AURREKOETXEA & LAURA RUIZ (Bilbao, 1989) have created a sculpture consisting of overlapping materials or objects. The gravity force of the cylindrical plaster traps a white-striped blue track-suit on a well-folded and clean white towel, on a metallic square acting as a stand or supporting structure. The footprint directly refers to history. The remnants of the socio-political conflicts indicate that something has occurred without having needed to be present in experiencing it, the action. We are behind that action, in the setting, knowing that something will happen afterwards.

In the video La palabra hablada [The Spoken Word], MARÍA BENITO PÍRIZ (Durango, 1992) contrasts and confronts two ways of spontaneous lexical creation, with the emphasis being on expressive transmission by hand movements. That soundless language is added to the rapped word, in turn complemented by fragments of "the hand and words" of the Noucentisme author and creator of the aphorism, Ramón Gómez de la Serna.

MARION CRUZA LE BIHAN (Bilbao, 1982) inherited the title of her video, Imagination morte imaginez [Imagination Dead Imagine], from a short text by Samuel Beckett where the author points out that the work of art calls itself into question by the very fact of being constantly reinvented. After banishing the words, Marion works with just the image to construct a continuum of fixed and moving fragments that refer to a certain extent to the images expressed by the author.

In CLAUDIA REBECA LORENZO's (Logroño, 1988) video, we only get to see what happens within the swimming pool. An action that is never-ending, only interrupted by the colour black, clipped by the need of the artist to come to the surface and breathe.

Paper and pencil are the tools that EDURNE MARTÍNEZ ARROYO (Bilbao, 1982) uses to construct a delicate drawing where the grids of the paper itself frame small landscapes that we only perceive as we get nearer.

TERESA DEL ROMERO (Pamplona, 1992) uses the possible dialogue between text and image to show, through the gaze, possible sentiments between the dialoguing beings. It seems to be the two sides of an action, those involved in it, level against level.

Monumento a los campesinos asesinados [Monument to the Murdered Peasants] takes up Durero's proposal in 1525 to erect a column in tribute to the peasants, after a series of uprisings with nobles and citizens in Germany. MAWATRES (Madrid, 1986) set off on a trip of the areas of greatest conflict, putting up posters and stickers of this design. The artist is seeking to recall and showcase, in a short-lived way and through art, all those peasants who died defending their rights.

Using the glaze technique, OIHANE SÁNCHEZ DURO (Barakaldo, 1991) manages to transmit the process to erase one's mind. Those glazes, achieved by superimposing real paper on photographs, attain, as film and narratively, the concept of loss of the memory of the place, which is so usual in city restructuring policies.

IMAGEN 30** (Palencia, 1986) uses what there is or what is available to work under Levi Strauss's “bricoleur” concept; paper, shirt, trousers, printed images from discarded files, biros, tweezers, chains and folded papers. The object is not what is important, but rather that is its artistic essence or the way of experiencing it.

CRISTIAN VILLAVICENCIO (Quito, Ecuador, 1984) has produced a sculpture in movement that needs to be perceived by the recipient's body. Air and fabric, geography among the electric current generated by a fan. Flowing Cartography explores notions such as space, time and the point of view by means of the idea of “deformed geographies” and delves into the impact of randomness on perception.

IRANTZU YALDEBERE (Vitoria-Gasteiz, 1994) shows superimposed details of two photographs. In the background, a man with a raised fist, allowing one to sense that he is not alone and that there are more people with him. A girl on horseback and this is, in turn, on the previously discussed image.