Did you know that... if you visit the didactic area for this exhibition, you can find out about how each artist works and the key aspects of the show such as History, Process or Appropriation?
Interview extracts included below explain some of the thoughts of the artists about these issues. Iñaki Garmendia (Ordizia, 1972), Erlea Maneros Zabala (Bilbao, 1977) and Xabier Salaberria (San Sebastián, 1969) were interviewed on the occasion of this exhibition.
"(…) in my work all of the photographic “documents” were manipulated, showing irreverence toward the idea of objective representation. (…)
In the end, the documentation of this particular phenomenon, the chronicling of Los Angeles’ billboards during that month, became an allegory for our perception of the international financial crisis that was unfolding. There was a general, systematic denial of the depth of the crisis which reflected a larger issue: our inability to acknowledge the fundamental flaws of self-regulation in a neo-liberal free market capitalist system and to question whether or not this is the appropriate system for sustaining an ever-expanding economy."
Excerpt of interview by Renaud Proch
"When I talk about my works, I like to divide them into categories: couples videos, group videos, and what I call “lab videos”. When other people are involved, I can’t improvise and just go with the flow as I do in other cases; in other words, because I’m the one who decides, directs and, in most cases, records the action, I need a shooting schedule.
In such cases I usually start out with a preconceived plan, although that doesn’t mean that I necessarily want to stick to it. In the lab videos my shooting repertoire isn’t as rigid; in these cases, the action is a result of an empathetic reaction to the object, governed by a self-referential logic where the object and subject of the recording meld into a single entity.
Taking this into consideration, there is no possible metaphor beyond the surface of things."
Excerpt of interview by Leire Vergara
"I think that it is also possible for history to be told through monuments, exhibitions, etc. I use references as a pretext for doing something. I try to enact an abstract mental concept in a certain situation. I factor in the context and the place. Cultural references and subjective associations turn these materials into twisted versions of themselves, causing a displacement of disciplinary boundaries.
As a work is developing, at some point I like to reverse the process. It never stays the same as it was at the beginning. New side roads appear, leading to unexpected situations. This isn’t about backtracking; traveling in the opposite direction gives you a heightened awareness and opens your eyes to other possibilities.
You might say that I enact a mental schema which, for some unknown reason, has stuck in my mind. I imagine it has to do with memory and its interpretative mechanisms, with experiences and weaknesses... Yes, as you say, I do it graphically, not from a particular historical perspective."
Excerpt of interview by Lars Bang Larsen