Txomin Badiola
07 Sep - 14 Oct 2010
© Txomin Badiola
Goodvibes 2
(alas por), 2009.
Impresión gráfica sobre metal, fundición
en aluminio.
194 x 335 cm
Goodvibes 2
(alas por), 2009.
Impresión gráfica sobre metal, fundición
en aluminio.
194 x 335 cm
TXOMIN BADIOLA
"Goodvibes / Lo Que El Signo Esconde"
September 7 - October 14, 2010
Opening Reception: Tuesday, September 7, 2010. 20 h
The works that are currently on show in the Soledad Lorenzo gallery under the generic title of GOODVIBES/ : WHAT THE SIGN CONCEALS, were created as part of a project entitled PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 EJERCICIOS 40 DIAS 8 HORAS AL DIA developed in MUSAC between 30 January and 6 June 2010.
PROFORMA was created as the search for a generic format of collaboration between three artists Euba, Prego and myself with an institution, MUSAC, as an alternative in response to the invitation of its director, Agustin Perez Rubio, to carry out three individual exhibitions coinciding in time.
This project began to define itself, throughout 2009, in the form of weekly meetings held between the three artists involved in the project, as well as other more sporadic meetings with the institution in order to develop the bases of a common project.
On 30 January 2010, each artist launched an exhibition proposal in the MUSAC containing the conditions necessary for its later development. Each proposal was presented in a varying higher or lower degree of completion in relation to its actual development in terms of finished works. Nearly all of the works exhibited were new productions that had been created deliberately for the exhibition space of the MUSAC. As well as the spaces dedicated towards each of the artists, two other spaces were dedicated to a joint collection of works: the PROFORMA studio, an inflatable pneumatic structure created by Sergio Prego assigned to gather all the activity not directly accessible to the public and the PROFORMA module, conceived as the material, documentary and creative expression of the project developed.
On 8 February the 3 artists remained secluded in their exhibition inside the museum alongside a group of 15 volunteers (selected through a public call after having presented the project in the three faculties of fine art near Leon) with a work encounter programme consisting in 30 exercises to be completed within 40 days. This experience in collective, individual and artistic work held within an exhibition apparatus was targeted towards a transformation, both of the people involved as well as the exhibitions themselves.
Each one of us, as directors of the project, carried out 10 exercises. The director of each, as well as the other two directors and the remaining participants, were involved in all the exercises in roles determined case by case. In addition to the agents mentioned, the presence of external agents was necessary, in order to embody an external gaze and participate from the outside: segments of an audience called in on an ad hoc basis, in addition to guests who acted as witnesses and were given specifically regulated tasks within the development of the activity in which they actively engaged.
PROFORMA was therefore, basically a production which worked based on a programme of 30 exercises distributed into 2-hour modules (as 2, 4 or 6-hour exercises). The exercises consisted in the execution of a productive act; that is, the generation of experiences, thoughts or physical bodies. The exercises were related to the works exhibited, representing their potential for development and transformation. The aim of the exercises was to involve others, through a course of action, in what was a typically private experience. Each exercise generated physical or immaterial results that were gathered for consideration on a daily basis, both in terms of its direct analysis as an experience or its documentation and communication by an editorial board or peer-review group, brought together by the directors, volunteers and eventually any other external agent invited to participate. As a result they were part of the material expression belonging to the exhibition space entitled the PROFORMA Module, as well as that of the web-page http://primerproforma2010.org/
The works that are now presented in the Soledad Lorenzo gallery are closely linked to the PROFORMA project and are an integral part of two of the exercises carried out there:
The collection formed by the installation and the wall works under the generic title of Goodvibes corresponds with the exercise with the same title (http://primerproforma2010.org/ejercicio-9-goodvibes) carried out on 18 February 2010, from the ideas related with those of “vanitas” and “memento mori”.
The three large wooden scaled relieves with texts incorporated were what sparked off exercise 13 entitled What the sign conceals (http://primerproforma2010.org/ejercicio-13) carried out on 24 February 2010.
Four video pieces related to the following PROFORMA exercises will be presented: Exercise no 11. Doce consideraciones comunicadas a un pusilánime en cinco jornadas. Exercise no 16. Máquina L. Exercise no 19 Sordos, ciegos, mudos. Exercise no 25. Doce estaciones.
Txomin Badiola 2010.
"Goodvibes / Lo Que El Signo Esconde"
September 7 - October 14, 2010
Opening Reception: Tuesday, September 7, 2010. 20 h
The works that are currently on show in the Soledad Lorenzo gallery under the generic title of GOODVIBES/ : WHAT THE SIGN CONCEALS, were created as part of a project entitled PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 EJERCICIOS 40 DIAS 8 HORAS AL DIA developed in MUSAC between 30 January and 6 June 2010.
PROFORMA was created as the search for a generic format of collaboration between three artists Euba, Prego and myself with an institution, MUSAC, as an alternative in response to the invitation of its director, Agustin Perez Rubio, to carry out three individual exhibitions coinciding in time.
This project began to define itself, throughout 2009, in the form of weekly meetings held between the three artists involved in the project, as well as other more sporadic meetings with the institution in order to develop the bases of a common project.
On 30 January 2010, each artist launched an exhibition proposal in the MUSAC containing the conditions necessary for its later development. Each proposal was presented in a varying higher or lower degree of completion in relation to its actual development in terms of finished works. Nearly all of the works exhibited were new productions that had been created deliberately for the exhibition space of the MUSAC. As well as the spaces dedicated towards each of the artists, two other spaces were dedicated to a joint collection of works: the PROFORMA studio, an inflatable pneumatic structure created by Sergio Prego assigned to gather all the activity not directly accessible to the public and the PROFORMA module, conceived as the material, documentary and creative expression of the project developed.
On 8 February the 3 artists remained secluded in their exhibition inside the museum alongside a group of 15 volunteers (selected through a public call after having presented the project in the three faculties of fine art near Leon) with a work encounter programme consisting in 30 exercises to be completed within 40 days. This experience in collective, individual and artistic work held within an exhibition apparatus was targeted towards a transformation, both of the people involved as well as the exhibitions themselves.
Each one of us, as directors of the project, carried out 10 exercises. The director of each, as well as the other two directors and the remaining participants, were involved in all the exercises in roles determined case by case. In addition to the agents mentioned, the presence of external agents was necessary, in order to embody an external gaze and participate from the outside: segments of an audience called in on an ad hoc basis, in addition to guests who acted as witnesses and were given specifically regulated tasks within the development of the activity in which they actively engaged.
PROFORMA was therefore, basically a production which worked based on a programme of 30 exercises distributed into 2-hour modules (as 2, 4 or 6-hour exercises). The exercises consisted in the execution of a productive act; that is, the generation of experiences, thoughts or physical bodies. The exercises were related to the works exhibited, representing their potential for development and transformation. The aim of the exercises was to involve others, through a course of action, in what was a typically private experience. Each exercise generated physical or immaterial results that were gathered for consideration on a daily basis, both in terms of its direct analysis as an experience or its documentation and communication by an editorial board or peer-review group, brought together by the directors, volunteers and eventually any other external agent invited to participate. As a result they were part of the material expression belonging to the exhibition space entitled the PROFORMA Module, as well as that of the web-page http://primerproforma2010.org/
The works that are now presented in the Soledad Lorenzo gallery are closely linked to the PROFORMA project and are an integral part of two of the exercises carried out there:
The collection formed by the installation and the wall works under the generic title of Goodvibes corresponds with the exercise with the same title (http://primerproforma2010.org/ejercicio-9-goodvibes) carried out on 18 February 2010, from the ideas related with those of “vanitas” and “memento mori”.
The three large wooden scaled relieves with texts incorporated were what sparked off exercise 13 entitled What the sign conceals (http://primerproforma2010.org/ejercicio-13) carried out on 24 February 2010.
Four video pieces related to the following PROFORMA exercises will be presented: Exercise no 11. Doce consideraciones comunicadas a un pusilánime en cinco jornadas. Exercise no 16. Máquina L. Exercise no 19 Sordos, ciegos, mudos. Exercise no 25. Doce estaciones.
Txomin Badiola 2010.