How would a retrospective be restrained when the first premise of a retrospective is denied? In other words, how does it intend to make known an artistic trajectory if the milestones of this trajectory are not presented? In this work the researcher and commissioner Francisco Javier San Martín has collaborated, a professor recognized for many students of the Faculty of Fine Arts of Leioa. His 35-year-old art career in Amondarain focuses on the workshop’s work to bring to light the tests, surpluses and experiments that have occurred over all these years. A chronological order has not been followed when presenting the works and the visitor will hardly be able to find an information card with additional information about the works. In the exhibition "Agitation of images" the styles or tendencies associated with concrete times disappear that could be behind a trajectory as varied as that of Amondarain and the works are presented accumulated and mixed.

The visitor may feel the desire to run out as soon as the main hall of Cuba appears, as the number of works that accumulate in it is enormous. But gradually, as you enter this overpopulated forest with sculptures, you'll begin to identify Amondarain's codes, to show some analogies, to see signs of humor there and here, and when you realize, it will spend a lot of time surrounded by a sculpture of different styles and materials. It is also immersed in this process and verifies that there is painting in the exhibition, but drawing its usual form, escapes from the canvas and takes a solid form. A three-dimensional picture.

Amondarain puts into practice the idea of extended painting, an artistic tendency to explore the possible possibilities of painting beyond the two dimensions of the painting. In this sense, since the 1990s, there have been artifacts in different ways made with the painted oil that it names with the term mocho in Spanish. They are pieces produced by the accumulation of painting, usually oil, solid forms arising from the artist's desire to experiment with painting. Following the imprint of the extended painting, in the exhibition we will find a series that makes direct reference to the painter's work: the series of painters' pallets. The range consists of more than half a hundred paint pallets of various materials, between lentils, toast and chocolate, in which different motifs and styles intersect. There are palettes for every taste.

In this central space there is another element that really attracts our attention: pedestals. Every sculpture is placed on a pedestal, of various sizes, colors and materials, forming a constellation as a whole. Avant-garde and modern artists challenged pedestals because they believed that they were an obstacle to enjoying the artwork, an interference between sculpture and the visitor. Amondarain, however, has recovered all the pedestals from the warehouse and presented to them the work he has done during all these years in the workshop. These pedestals of different sizes and finishes enhance this sense of forest, a determined bet that moderates space.

Among the works we find, among others, a geometric form of the chalk laboratory of Oteiza, transferred to large dimensions. Even if it looks like it's made of wood, once we've seen it close, we'll see that the painting looks like wood; and if we surround the same sculpture, we'll see it's empty inside. In the same line, we found replicas of the metaphysical boxes of Oteiza, made with thick paint skewers. At the bottom of the room is a clear curtain, hanging dozens of pieces and multiform devices, just as it did in the exhibition A Tientas (Itsumustuka) that he had at the Cibrian gallery in San Sebastian in November last year.

Amondarain is an artist who constantly looks at the history of art and inserts in one way or another works by artists that have been important for his work. In this way he creates anagrams with names of artists that have been referent in the modern history of art: Lucio Fontana creates the quote Tu Lacan Fin, Oh Mama Tu no, by Mona Hatum, and Law or Handy is the new word that invents the combined letters of Andy Warhol. Amondarain has also worked with the letters that make up his last name in endless possibilities, performing word games like A Mondrian Rain. As he does with Anagram, he has painted the pictorial style of several avant-garde artists, Frank Stella, George Bracke, Joseph Albers, on the surface of warplanes for the Planes series. These are planes that could be paintings and Amondarain indicates that any surface is fit to paint a painting again. In order to reinforce this gesture, these aircraft have been presented in the wooden boxes where the boxes are transported.

Finally, on the second floor of the Kubo Hall there is a photographic projection of the two channels. It projects a heterogeneous series of photographs and images that, in one way or another, have inspired or useful the artist when performing his work. As a result of the successive observation of these images, it seems that you can guess what the artist's working methodology is: they are images that work by analogy, contrast or emptying. Just like a chemist works by mixing various substances in the specimens, Amondarain works with the images, shaking the images over and over and, as a consequence of the shake, the works that we can find in this exhibition emerge.