All galleries, from 2011/09/22 to 2011/10/07
Esther Ferrer. In four movements
Curator: Rosa Olivares
Organized by ARTIUM (Vitoria-Gasteiz), and Acción Cultural Española (AC/E), and co-produced by CGAC (Santiago de Compostela) and Es Baluard (Palma de Mallorca)
With the support of Naturgas Energia and the Provincial Government of Alava
With the help of Montehermoso Cultural Centre
Catalogue of the exhibition, with texts by Margarita de Aizpuru, Tom Johnson, Rosa Olivares, David Pérez Rodríguez, Sergio Rubira and Alberto Sánchez Balmisa
Performance by Esther Ferrer: october 7, Friday, at 5.30 PM
Following many years of intense creative activity in which she has developed many series of works and has carried out performances virtually all over the world, and following her recognition at an international level for being one of the most important performers, the work of Esther Ferrer is now gaining recognition in Spain.
It is true that the oeuvre of Esther Ferrer (San Sebastian,1937) has been recognised on occasions in the form of one-woman shows, especially in the Basque Country, and gradually over recent years through workshops and performances in different parts of Spain. Nevertheless, it wasn't until she was awarded the National Plastic Arts Prize in 2008 that we can say that her significance as an artist, her name and the importance of her contribution to conceptual art began to become more apparent.
This exhibition does not set out to be a retrospective show, nor an attempt to span her entire career and all the aspects of her art, but is configured as an action in four stages, an individualised approach to the treatment of a number of essential concepts not only in her oeuvre but in conceptual work as a whole.
The exhibition is based on four concepts: Time, Infinity, Repetition and Presence. Each of these concepts is dealt with transversely based on three types of work by Esther Ferrer. In the first place, works of an objectual nature, be these photographs, paintings or objects which they themselves maintain the idea of work of art. Secondly, installations created specifically in the galleries of the museum, some of them never seen before. And finally, each concept is illustrated with a performance work. Given the impossibility of proposing a performance with the same duration as that of an exhibition, this work will be presented exclusively with strictly documentary material comprising drawings, photographs and videos, not considered in any case as works of art in themselves.
In four movements, the spectator can approach the work of Esther Ferrer in all its dimensions and formalisations with just twelve very specific works that synthesise the most important themes she has developed throughout her career. The exhibition has a catalogue, published by AC/E and ARTIUM, with texts by Margarita de Aizpuru, Tom Johnson, Rosa Olivares, David Pérez Rodríguez, Sergio Rubira and Alberto Sánchez Balmisa.
Praxis. Jenny Marketou. Paperophanies
Curator: Blanca de la Torre
Produced by ARTIUM
Paperophanies examines the collaboration between arts, style, fashion, physical mobility, subjectivity and public performance strategies as vehicles for dealing with social, political and economic issues, and promotes DIY (“Do it Yourself”) and the "gift" economy, recurring aspects in the work of Jenny Marketou.
Marketou transforms the space into a design workshop, around the "paper fashion" concept, as a highly political metaphor of fashion that reflects the fragile status of the world and the sociopolitical context. The use of "paper fashion" is based on a long tradition of paper dresses inspired by the poster dresses of the 60s, which were used in political campaigns and became especially popular in the United States. The installation workshop set up in the gallery space is also inspired by the sadly famous Atelier Populaire at l’Ecole des Beaux Arts during the protests in Paris in 1962.
Marketou will direct several paper dress-making workshops, adorned with cut-outs and word, sentence and message patterns that each participant will choose in order to convey the essence of the word FRAGILE. Each dress will bear the name of its designer and will be photographed and catalogued, to be hung later either on a clothes rack or on one of the dummies that stand all around the gallery. These designs will remain in the museum-workshop throughout the project and until the moment when the final event is held. This will take the form of a public performance-show with all the participants wearing their own paper dresses created in the workshops.
As is customary in the projects developed within the PRAXIS programme, the gallery will be set up in the form of an alterable space, and at the same time as an environment for performative collaboration in which the figures of the spectator, artist, collaborator and performer merge together. In this way, there is a clash between the concepts of creation and exhibition, production and product, based on which Marketou develops a project in which amusement, frustration and surprise will coexist during the creative process.
Stanzas. Restitutive Practices on the ARTIUM Collection
Lower East Gallery
Curators: Mar Villaespesa and BNV Producciones,
in collaboration with Bulegoa z/b, Fundación Rodríguez, Valentín Roma and Laura Trafí-Prats
Produced by ARTIUM
With the support of the Ministry of Culture and the Provincial Government of Alava
Estancias is a project of the ARTIUM Collection, the aim of which is to analyse the creative strategies of a collection and the way in which the knowledge that this generates is constructed and exhibited. When a work of art is added to a collection, it takes part in the symbolic order of the museum institution, a centre that gives order to discourse and establishes knowledge in society and its heritage, which must be conserved for the future. How to recover the political capacity of works of art and reactivate their potential rupture once they have been subjected to the conservation rules imposed within this official framework of knowledge?
The exhibition goes beyond the works and interventions it shows us, to invite us to take part in a series of operations that include the process and context, through theatre performances, participation in workshops and laboratories that enable new relations and uses of the institution and the works in the collection themselves.
Carmelo Ortiz de Elgea, José Luis Zumeta. Light inside
Curators: Daniel Castillejo, Enrique Martínez Goikoetxea
Produced by ARTIUM
With the support of Tubacex, Norbega and the Provincial Government of Alava
Catalogue of the exhibition with texts by Ángel Lertxundi, Pako Aristi, Mª José Aranzasti, Daniel Castillejo and Enrique Martínez Goikoetxea
Carmelo Ortiz de Elgea (Aretxabaleta, Alava, 1944) and José Luis Zumeta (Usurbil, 1939), exhibit in the South Gallery of ARTIUM a painstaking selection of their latest work, in a dialogue that highlights their commitment to painting, gestated in the old days of the Basque School (Elgea belonged to the Orain group and Zumeta to the Gaur group). Through 40 large format paintings, the exhibition revisits the work of two experienced artists, full of energy and faithful, in an era dominated by the new technologies, to a very expressive, intuitive, flexible type of creation, which formally and intellectually free. The exhibition will be accompanied by texts by Ángel Lertxundi, Pako Aristi, Mª José Aranzasti, in addition to those of the curators.
"Should anyone think it, the title of this exhibition by Carmelo Ortiz de Elgea and José Luis Zumeta does not allude to the inner light, I would even say that it does not even refer to the lighting of a dark location. We would go further, the poem by Juan Gelman from which this verse is taken, does not deal even remotely with painting, or art, or artists. What is Luz adentro then? It is a free reference, a mysterious association of ideas with an attitude, a vital standpoint which is developed in the three steps that both artists take to a blank canvas, each one in its own place, of course. Passionate, direct, intuitive, animalised painting like the sweat extracted from a still that, day after day, is put into operation in their respective workshops". (Daniel Castillejo)
Alava, contemporary art scene
Curator: Documentation Centre of ARTIUM
Produced by ARTIUM
The new bibliographical exhibition curated by the Library and Documentation Centre of ARTIUM focuses on the province of Alava as a source of inspiration for artists, writers, musicians and filmmakers.
The exhibition tours of the different places that have provided the motive, support or scenario for contemporary art in its different manifestations: The landscape, urban development and architecture of Vitoria-Gasteiz and the rural environment of Alava, portrayed on numerous occasions in paintings and photographs, indicated as places for public sculpture, murals and street art, or chosen as scenarios for films, video art, music and literature.
In the exhibition, spectators will have the chance to enjoy a broad selection of monographs, reference works, exhibition catalogues, music, films and other kinds of audiovisual materials, all of these taken from the Library and Documentation Centre of ARTIUM.
Moreover, the exhibition is documented by means of a virtual contents manager –to be seen at www.artium.org- that offers a vision of Alava as an artistic scenario over the ages, through bibliography, videos and web resources on this subject, among other things.
Pedagogic exhibition. Works of the ARTIUM Collection
Anteroom of ARTIUM
Curator: Charo Garaigorta
Produced by ARTIUM
So far away and evoked like the moon, the catastrophe can be caused by man or by nature. The theme that both cases have in common is that nothing is the same again, that a transformation of different characteristics takes place, that physical or mental space is never the same again, as on the majority of occasions it obliges people to rethink their idea of life. Tidal waves, fires, bombs, robberies, mad men with guns, wars…. it is the story of our civilisation. What do we learn from all this? What does this say about us?
This exhibition attempts to examine the concept of catastrophe in contemporary society, based on the selection of works by Mikel Eskauriaza, KCho, Luis Cruz Azaceta, Oteiza, all of them taken from the ARTIUM Collection. It involves a reflection not out of a sense of morbidity but from the positive innocence from which we might learn something about them.
These pedagogic exhibitions, made up of works from the ARTIUM Collection and initially conceived as exhibitions for a young audience, are an instrument of support for the educational activities of the Centre-Museum, developed both in school programmes and in others linked to social inclusion activities.