A collaborative project between Barrutia Ikastola and Artium Museoa

Published in Exhibitions

Rubio’s latest film, Clamor [Moan], explores the subject of death according to the burial sites of the “rejected”: suicides, reprisal victims, atheists... Edurne Rubio is a visual artist whose practice extends to performances, films, sound projects and public space interventions. The exhibition also includes archive images and texts connected to some of the sites appearing in the film.

Published in Press room

La muestra permite examinar mediante series de trabajos de distintos momentos la producción del artista desde los años 80 hasta el presente. La muestra forma parte de un proyecto curatorial único que se despliega simultáneamente en el Museo Reina Sofía de Madrid y en Artium Museoa

El Museo de Arte Contemporáneo del País Vasco, Artium Museoa, presenta la exposición Néstor Sanmiguel Diest. La peripecia del autómata (Sala A3, hasta el 1 de noviembre de 2022). La exposición presenta cerca de 80 obras, además de una amplia selección de dibujos de sus “cuadernos de trabajo”, que en conjunto ofrecen la oportunidad de examinar la producción del artista desde finales de la década de los 80 hasta el presente. La muestra forma parte de un proyecto curatorial único integrado por dos exposiciones distintas, la de Artium Museoa y la que se presentó el pasado 2 de junio en el Palacio de Velázquez del Museo Nacional Centro de Arte Reina Sofía de Madrid. Con ocasión de esta exposición, ambos museos preparan la edición de una publicación que contará con textos de Beatriz Herráez, comisaria del proyecto y Peio Aguirre, y recogerá una conversación entre Néstor Sanmiguel Diest y Ángel Calvo Ulloa.

La peripecia del autómata despliega series de trabajos ejecutadas en distintos momentos de la trayectoria de Néstor Sanmiguel Diest (Zaragoza, 1949) y dibuja un recorrido que permite adentrarse en la práctica de un autor que se define a sí mismo como un «artista de taller». Junto con piezas de colecciones privadas y del propio autor, la muestra integra cuatro pinturas de la Colección Museo de Arte Contemporáneo del País Vasco: En la penumbra de tu corazón (1994), Los sentimientos no expresados del lehendakari (2004), El arte de esquivar (2004) y La hija del capitán (2004).

Desde los primeros años de su actividad, vinculado a la fundación de colectivos artísticos como A Ua Crag, y el Segundo partido de la montaña, Sanmiguel Diest se presenta como un productor metódico y prolífico que idea de modo ininterrumpido sistemas, reglas y protocolos, que aplica en la construcción de sus piezas. Su obra ingente, principalmente dibujos y pinturas, conforma un catálogo singular en el que se confunden los límites entre imagen y texto, como en un palimpsesto que desvela y oculta al mismo tiempo una sucesión de relatos que interpelan al espectador.

La cronología de la exposición se inicia a finales de los ochenta, momento en el que el artista mantiene una doble ocupación, en su taller y empleado como patronista en una factoría textil, un lugar que no abandona plenamente hasta el año 2000. Del ejercicio de esta profesión derivan la aplicación de una lógica meticulosa y precisa en sus procesos de trabajo y los guiños y referencias persistentes al espacio de la fábrica y a una iconografía militante. Del mismo modo que en la industria, Sanmiguel Diest traslada la jornada laboral, de (al menos) ocho horas al día, a la ejecución de una producción sistematizada en su estudio. Una cadena de montaje transferida al taller del artista en la que es habitual el empleo de troqueles, patrones y matrices en el interior de sus piezas a modo de collages, mediante el frottage y la copia.

En distintas ocasiones, Sanmiguel Diest se ha referido a su práctica como el «oficio de esquivar», una premisa que se materializa en su forma de situarse en la periferia, no solo geográfica, sino también discursiva y material. Este rehuir o alejarse de las narrativas y los debates más extendidos, ha funcionado como táctica y método, generando un pensamiento y un corpus de trabajo que cuestiona y desafía los modos de producción contemporáneos y su organización del tiempo.

Alejado de cualquier convención, su trabajo se sitúa en un campo en el que son frecuentes las referencias a los ámbitos de la historia del arte, la literatura y la música, pero también a lo más cotidiano y ordinario, al incorporar en sus piezas documentos, facturas, fragmentos de textos, notas o páginas de prensa. Se trata de una invitación a pasear por una selva de símbolos, un lugar plagado de silencios expresivos, en una negociación constante con aquello que se agolpa en los márgenes y que, con frecuencia, pasa desapercibido. Una producción que no participa de una interpretación literal del mundo, y que se asienta en una simultaneidad de apropiaciones y citas, como un mecanismo potencialmente infinito y circular que sorprende por su densidad.

Néstor Sanmiguel Diest
El artista vive y trabaja en Aranda de Duero. En el año 1985 fundó en esta localidad, junto a los artistas Rufo Criado, Rafael Lamata o Jesús Max, entre otros, el colectivo de artistas A Ua Crag; también participó en la creación de los grupos Red District o el II Partido de la Montaña. En los 90 inicia una intensa trayectoria individual que inicialmente, hasta finales de esa década, compaginó con su trabajo como patronista en una fábrica textil. Su producción se sustenta en el desarrollo riguroso de complejas tramas visuales y narrativas, obras no exentas de ironía realizadas a partir de minuciosos trazados geométricos y combinaciones de módulos que se repiten de manera sistemática sobre las superficies de las telas y el papel.
Su obra se encuentra en las colecciones del MACBA, MNCARS, MUSAC y Artium Museoa, entre otras entidades, así como en numerosos fondos institucionales y privados. Ha celebrado exposiciones individuales en espacios como el Museo Reina Sofía, el MUSAC de León, Centro Cultural Montehermoso, Galería Maisterravalbuena de Madrid y Trayecto Galería en Vitoria-Gasteiz.

Néstor Sanmiguel Diest. La peripecia del autómata
Sala A3, desde el 24 de junio hasta el 1 de noviembre de 2022
La peripecia del autómata es un proyecto curatorial que se despliega en dos exposiciones simultáneas: una en Madrid, en la sede del Palacio de Velázquez del Museo Reina Sofía, y otra en Vitoria-Gasteiz, en el Museo de Arte Contemporáneo del País Vasco, Artium Museoa.

Documentos para descargar

Nota de prensa (pdf)  Lista de obra (pdf)  Solicitud de imágenes 

Published in Press room

Programa especial de vacaciones de Pascua: exposiciones, visitas, talleres abiertos

Published in Activities

Escuelas y prácticas educativas experimentales de arte en el País Vasco 1957-1979

Published in Artium's publications

The centrepiece of the exhibition is Lucía con zeta, a video from 1998 in the museum’s collection that is shown in context with two other works by Munduate.

Contexts from a Collection, in addition to the case studies and rotations as part of the exhibition Zeru bat, hamaika bide, aims to raise awareness of the museum’s exceptional contemporary collection.


 

Artium Museoa, Museum of Contemporary Art of the Basque Country presents the exhibition Cuerpos por un momento by Ion Munduate (A02 Gallery, until 29 May 2022) as part of its Contexts from a Collection programme. The centrepiece of the exhibition is Lucía con zeta, a video from 1998 that was acquired in 2020 as part of the Shared Collection initiative. Artium Museoa has produced a publication with a text by Sergio Prego to accompany the exhibition. One of the aims of Contexts from a Collection, alongside other initiatives, is to promote knowledge of the Artium Museum Collection by presenting recently acquired works alongside other pieces by the same artist.

The works that comprise Cuerpos por un momento share drawing and annotation as the origin of their execution, videos that have been made at various moments in the artist’s career. The beginning of each process, performance or video begins with drawing and is developed in various formats revolving around working from the body, text and space.

A thing becomes something else because it is moving, because it is situated between a moment immediately before and another immediately after. Each movement is based on a counter-movement, or on the fact that, in recovering movement, a trade-off or “breather” takes place, and this is what leads to its volume. From a situation of immobility produced by learning to dance, the artist had to rethink movement and its practice, to find the lost body.

The beginning of each process, performance or video commenced by drawing. The first being drawn, called Personne (Nobody), in his work Lucia con zeta (1998), was learning to walk. The series of drawings insisted on moving, on producing phrases of movement. The notion of notation and writing is what leads to the movement of this piece. This would be his first movement score as he attempted to trap time, the time of being.

He prioritised the notion of being a drawing, not a subject, during the reading of these drawings, thinking of the body in movement as a stroke. Thinking of a movement away from something, and towards something, the notion of interval. Interval understood in the sense of writer and translator Ashkan Sepahvand: “(...) as a process of hybridisation and mutation rather than that of separation, an act of renewal, not of transference”.

Ion Munduate (San Sebastian 1969) is trained in dance and performance, and he uses video in his work in addition to installations and performance. He was co-director of Mugatxoan between 1998 and 2012.

Contexts from a Collection

Thus, in addition to the permanent exhibition of the Artium Collection, Zeru bat, hamaika bide, the A01 Gallery generally hosts case studies and exhibitions linked to research work and the 1977-2002 period displayed in this exhibition. The Zeru bat, hamaika bide exhibition is periodically changed to add new internal routes. The creation of the #Bilduma series in Artium’s publications programme shares this same goal.

Artium’s acquisition programme helps to explore and report on the debates and practices taking place in the field of art today, as well as being an essential tool for sounding out a moment characterised by its dynamism and complexity. This is one of the basic tasks of the museum: to encourage the production of contemporary heritage and promote artists and their productions.

Artium Museum added Ion Munduate’s Lucía con zeta to its collection in 2020 as part of the Shared Collection acquisition programme promoted by the Basque Government.

Munduate begins the Contexts from a Collection programme in 2022. Daniel Llaría, Nadia Barkate and Lorea Alfaro were the artists forming part of the series in 2021.

 

Published in Press room

The exhibition uses films, drawings and objects to focus on the figure of pioneering female authors in the creation of electronic music.

The projection area of the museum’s Z Gallery is presenting the films Oramics: Atlantis Anew, Little Doorways to Paths Not Yet Taken and Hacer una diagonal con la música.

Published in Press room

The exhibition includes 19 case studies of projects committed to education that have in common Jorge Oteiza’s demand for places to meet, train and progress culturally.

The exhibition is curated by Mikel Onandia, Rocío Robles Tardío and Sergio Rubira and stems from a collaboration with the Jorge Oteiza Museum Foundation

The exhibition is part of a priority line of action of the museum aimed at the production of projects that highlight and enhance the relationships established between artistic practices and experimental pedagogical models. Programs such as the JAI Institute of Artistic Practices and the MAGNET educational project are included in this line of work.

The Museum of Contemporary Art of the Basque Country, Artium Museum, presents the exhibition A Place to Think: Experimental Art Schools and Educational Practices in the Basque Country, 1957-1979, (A3 Gallery, until 5 June 2022). The exhibition is divided into 19 case studies that analyse 19 projects developed during this period characterised by their educational commitment and desire to create places to conduct research and meet within the context of art. A Place to Think is linked to other projects developed by Artium Museoa that connect art and learning, such as the exhibition by Antonio Ballester Moreno held in 2021 or the JAI study programme. Artium Museum has published a catalogue and guidebook to accompany the exhibition. The research and curatorship of A Place to Think was carried out by Mikel Onandia, Rocío Robles Tardío and Sergio Rubira. The exhibition is organised in collaboration with the Jorge Oteiza Museum Foundation in Alzuza, where a new case study, A Transitive Eye: Irun Film Club Project, will be on display from Wednesday 26 January.

Stemming from a statement by Jorge Oteiza published in Quousque Tandem…! (1963): “We, who have neither a place of convergence nor a simple place to meet and think, cannot speak of research”, the exhibition addresses this call to action to create meeting places that can enable the socio-political, cultural and intellectual training and growth of boys and girls, men and women in the Basque Country. The exhibition recalls and brings together a series of projects with an educational vocation, whether collective or individual in nature, developed between 1957 and 1979 and sharing the same argument of necessity indicated by Oteiza.

By adding names and places to the map that outlines these experiences, existing connections between artists and geographies are revealed that shared an interest in key aspects of the Basque and Spanish art scenes at the time: the debates between abstraction and figuration, the defence of integrating the arts, the urgent need to renew art teaching or consider the social function of art, in which boys and girls as subjects and recipients received special attention. An approach to the foundational episodes of contemporary Basque art is therefore proposed by this, now based on the processes of configuring the artist as educator and artistic education, without losing sight of studying both focal points from the social and historical context of the time.

The time span begins in a year that saw the convergence of various initiatives and programmes in and outside the Basque Country, and it coincides with the moment when Jorge Oteiza abandoned his process of sculptural experimentation to focus on considering the social and political role of the artist (1957-1959). It extends to the year in which the School of Fine Arts of the Basque Country entered a new stage as a Faculty, a conversion in which the factor of its name contained the promise of a substantial transformation of its structure, programme, facilities and teaching renewal.

Between the two years, a set of cases, names and places is presented according to a diachronic order affected by a synchronic narrative, thereby demonstrating the simultaneity of experiences and development of various educational initiatives of an experimental nature from the visual arts. A number of diverse proposals in terms of their statements and modes of articulation, developed in the Basque Country over several years marked by processes of renewing and reconstructing Basque society, and whose common denominator was not to follow a formal or official education, thereby indicating that each activated “place to think” became a space of possibilities.

Press release (pdf)  Exhibition guidebook (pdf)  About the exhibition  

Parallel activities

Conversation between Mikel Onandia, Rocío Robles Tardío and Sergio Rubira
Friday 21 January, 6 pm. Artium Museoa Auditorium. Streaming also available

Roundtable: Educational Practices and Audiovisual Media: José Antonio Sistiaga and His Context, 1957-1979. With Mikel Onandia, Rocío Robles Tardío and Sergio Rubira
Thursday 10 March, 6 pm. Plaza Kutxa Kultur (Tabakalera, San Sebastian)
Activity carried out jointly with Kubo Kutxa. Kutxa Fundazioa

Online encounter on the context of experimental schools and practices in the 1960s and 1970s and their possible application to contemporary educational structure and practice
Wednesday 16 March at 6 pm. Organised by the Jorge Oteiza Museum Foundation and Artium Museoa

Upcoming guided tours for A Place to Think: Sunday 23 January, 12.30 pm; Wednesday 26 January, 6 pm; Saturday 29 January, 5.30 pm; Sunday 6 February, 5.30 pm; Wednesday 16 February, 6 pm; Saturday 26 February, 12.30 pm

A Place to Think. Experimental Art Schools and Educational Practices in the Basque Country, 1957-1979

A3 Gallery, from 21 January to 5 June 2022
Curators: Mikel Onandia, Rocío Robles Tardío and Sergio Rubira
Catalogue, including essays by David Fuente, Juan Pablo Huércanos, Irene López Goñi, Mikel Onandia, Rocío Robles Tardío, Sergio Rubira, Fátima Sarasola and Miren Vadillo (soon to be published)
Guidebook publication of the exhibition
The exhibition stems from a collaboration between Artium Museoa and the Jorge Oteiza Museum Foundation, where one its case studies will be on display, A Transitive Eye: Irun Film Club Project (from Thursday 27 January to 30 April 2022).

Published in Press room

The film is the result of a four-year project by Baudelaire with a group of students from the Dora Maar school in Paris. “It is not a film about the children, it is a film by the children” that captures the moments when these teenagers begin to become aware of their surroundings and adopt critical and political stances.

Published in Press room
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