Grey Flag 2014-2015. In Common

From: Monday, 17 March 2014

To: Sunday, 31 May 2015

Place: East façade of Artium

Five banners to think about new forms of community engagement

Throughout 2014, Grey Flag will be presenting six new banners with themes that ponder new forms of community engagement, based on the need to demonstrate art's ability to relate and isolate, analyse, adjust and connect specific content by providing unusual readings of our reality.

The recent events experienced by thousands of people from around the world have transformed, beyond specific political situations, the way we experience life together and the concept of citizenship, enabling the complicity and creation of new social dynamics. Through the use of images, texts and affective involvement, Grey Flag focuses on proposals that involve reflecting on new forms of social organisation and experimenting with a common space, given that the one we used to know until now has been blurred by an economy and politics whose limits have become increasingly more confusing and unscrupulous.

With the support of Mario Legorburu

Curator: Enrique Martínez Goikoetxea

 

Carlos Irijalba (Pamplona, 1979). States of Transition

Carlos Irijalba's work investigates the relationship of human scale with other existing dynamics, while maintaining a certain scepticism regarding human culture. The image used for States of Transition was taken in the office of a professor at UPV, an expert in the Anthropocene. The work includes the image of a stratification of documents at a time when the man is in a state of “self-thought”. The term “Anthropocene” describes the period in which human beings have been the main agent of change for territory and landscape. Its onset was marked by the birth of the industrial age, but it has not yet been unanimously accepted by the geological community because the term is still under discussion.

The author reminds us in this work how a process of mineral sedimentation or crystallisation can be similar to the way a language penetrates through the social fabric. In a recent publication, Irijalba reflected on how social power structures resemble the behaviour of a mineral with a stable atomic order, designed to last. As opposed to this, the structure of volcanic rock is porous and uneven and would suggest formal similarities to a revolution. When we say that the 15-M movement or other recent social uprisings do not have any specific form, their effervescence is due to the fact that they are events bound by a radical change in pressure and temperature in a very short period of time.

See work
On the façade

 

Sandra Gamarra (Lima, Peru, 1972)

This flag is not the flag of a community; it is a flag to build community. So it is not a flag that unifies by conventions, but it brings us together, it makes us associate together, because of that which separates us. Because of problems that may seem to affect others, but precisely because of this, they affect us all. For all those who “don't belong”. The flag for those who are left out.

It may seem that those who are left out are other people, but in fact those who are left out could be one of us at any time; it is all a matter of numbers, not decisions.

This flag speaks of community, but also the members of this community, the individuals. As in a democracy, there is a delicate balance between the individual and community; when one of these fails, the balance is overturned.

To speak of community without individuals, and to speak of individuals without community, is a danger that frequently befalls democracy.

That is why this flag vindicates the tension between the individual and community. Four corner images give way to a Greek cross, with its perfectly symmetrical, equal arms, representing the balance that should be at the basis of coexistence.

See work
On the façade

 

Ixone Sadaba (Bilbao, 1977). Without title

Grey Flag IxoneSadaba fachada minIxone Sadaba, lives and works in Bilbao and London. Expressed in the form of photography, installation and performance, Ixone Sabada's interests are aimed at continually exploring the subject's limits and humankind's violent nature. Consequently, her research focuses on the limits of the individual as well as the tension generated by the concepts of identity and entity. She uses her own body as one of her usual referents.

In this piece for Grey Flag, the artist bares the space of representation, a private place, her own skin, in a context in which the individual is shown as naked, fragile. The text—which is readable yet without structure—seems to posit a reflection on a number of aspects, first among them being a consideration of the acceptance of precariousness in the construction of a shared space, in the need to build a world for ourselves. On another level, there is the inner, visceral need to let it out, to communicate it and get it off one's chest.

On the façade

 

Regina de Miguel (Málaga, 1977). Black Matter

Grey Flag ReginadeMiguel fachada minIn her work, the artist Regina de Miguel addresses the connections between objective knowledge, the technological imaginary and the degrees of formation of an ideal and critical awareness and conscience. Through the simultaneity of relations, she considers interests such as the building of desire and the crisis of meaning, which she uses to construct images that call to mind physical maps, diagrams and cartographic representations. With these, she theorises on and explores a shared space of knowledge.

The circle in her piece Dark Matter gives an illustration in percentage terms of the distribution of energy and dark matter in the universe. The smallest segment represents what we can perceive, understand, measure or take in with our current parameters and technologies. The rest is presented as the new Terra Incognita, a speculative space that we can only grasp using mathematical algorithms and simulations.

This is a horizon that demands the abandonment of the old understandings that emerged after the collapse of modernity and the end of utopian desire. It is a shift in the axes of prevailing thinking that forces us to reconsider the future from other perspectives and to generate a subjective space that includes us, a space from which we can demonstrate resistance to the concept of truth as an absolute value.

On the façade

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