An Basque class
- I know less than I want (too) art, but I know quite well that it is a perfect tool to shake consciences. However, in contemporary visual art there is not much trace of minority languages, either in the Basque Country or in the world. It is not just that little is generated in minority languages, but it is not very common for creative works to have the language or, in our case, the Basque language. On the one hand, it can lead us to wonder who, for whom or for what art creates; on the other hand, the subject has a paradox, because those of us who have the language constantly in the mouth do not make of it.
This was precisely one of the extremes of the reflections of the artist Zaloa Ipiña and therefore began, among other things, the creation of pieces and installations that represented linguistic oppression. In the plastic and visual arts, bilbaíno has a fruitful trajectory and in recent years has had Euskera as a public raw material in its work both in the Basque Country and abroad.
It is clear that it performs prudent documentation during the creative process. In the exhibition "Visual Deafness", he investigated for a mistake the instruments used to reduce languages and turned them into artistic pieces. As he traveled through the window, Ipiña managed to get the pieces to pass through the viewer, after the experience, as the body left the room, but the room remained in the viewer; as he said, Ipiña opened a room to contemporary visual art of Euskera.
It has now focused on relations between languages and created from the point of view of linguistic ecology the exhibition "Mingainatu", which can be visited until last June on the city, specifically in the Edertek gallery, waiting for the locals and visitors. Zaloa Ipiña has missed interpretations of diversity, brought the world to a map and has not hung it on the wall, because there is no more conducive place to land collection, adjustment. Through the exploration of the corners of the Earth, through the cultivation of art, it seems that it wants to offer us the opportunity to step up the world to demonstrate how easy it is to provoke pain.
I'm not going to do the spoiler of the exhibition, but I think the second language project has gone a little further. Ipiña offers a great opportunity for reflection, in an intense electoral campaign. If there is nothing else, following the path of Zaloa, we can take a bloodletting further and say that the Basque (also) needs money, and a room for art.
Last week, during the blackout, seeing ourselves vulnerable, we began to investigate many people in order to understand what happened: how does the infrastructure that transports electricity work? Why is it getting old? I am fascinated by the physical phenomenon of electricity... [+]
Eskultura grekoerromatarrek bere garaian zuten itxurak ez du zerikusirik gaurkoarekin. Erabilitako materiala ez zuten bistan uzten. Orain badakigu kolore biziz margotzen zituztela eta jantziak eta apaingarriak ere eransten zizkietela. Bada, Cecilie Brøns Harvard... [+]
Behin batean, gazterik, gidoi nagusia betetzea egokitu zitzaion. Elbira Zipitriaren ikasle izanak, ikastolen mugimendu berriarekin bat egin zuen. Irakasle izan zen artisau baino lehen. Gero, eskulturgile. Egun, musika jotzen du, bere gogoz eta bere buruarentzat. Eta beti, eta 35... [+]
This text comes two years later, but the calamities of drunks are like this. A surprising surprise happened in San Fermín Txikito: I met Maite Ciganda Azcarate, an art restorer and friend of a friend. That night he told me that he had been arranging two figures that could be... [+]
On Monday afternoon, I had already planned two documentaries carried out in the Basque Country. I am not particularly fond of documentaries, but Zinemaldia is often a good opportunity to set aside habits and traditions. I decided on the Pello Gutierrez Peñalba Replica a week... [+]
