"This is not an exhibition" is organized as a collection of works that do not conform to a single theme, they make up a heterogeneous list of topics. Ever since his first piece of net.art, Easy One (1998), Aguirrezabala has explored the context of the observer's identity. Halfway between the aesthetics of the Nouvelle Vague, Dogma and video-art, Karen Cytter's work passes through narratives that are indistinctly debated and resolved between documentary cinema, melodrama and sit-coms. Hugo Canoilas develops his art through paint, the perfect medium to tackle the central theme of his research: the circulation and interpretation of images.
“This is not an exhibition".
Hall 2 (2nd floor).
Various artists (various mediums).
Curator: Carles Guerra.
Coordinator: Jenny Gil-Schmitz.
Educational project: Imanol Aguirre.
1 March - 25 May (2008).
Beginning the 1 of March the Huarte Centre will present This is not an exhibition, a project conceived by Carles Guerra as a pedagogical platform in which Imanol Aguirre, Professor of the Department of Education and Psychology at the Public University of Navarre, also collaborates.
This is not an exhibition is organized as a collection of works that do not conform to a single theme, they make up a heterogeneous list of topics. School, war, the factory, everything, architecture, the city, music, holidays and several more entries order and unite photographs, videos and documents. This is not an exhibit invites visitors and groups to use the works in those aspects that are relevant to each of them.
The works presented do not aspire to be mere objects to be observed, but to circulate and be transported to other spaces, places and institutions. Its final aim is to be discussed by specific publics. Overall, this exhibition aspires to be an anti-exhibition, which transforms the hall into a resource centre for the closest users.
This is not an exhibition includes contributions from artists like Bruno Serralongue, Allan Sekula, Azra Aksamija, Jeremy Deller, Joaquim Jordà, Vesselina Nikolaeva, Florence Lazar, Alejandra Riera, Walid Raad, and other such as Jordi Colomer, Ignasi Aballí, Raimond Chaves and the "Cinema en curs" group that contribute with activities in schools. Said activities are coordinated by Imanol Aguirre and Bitartean in collaboration with teachers and mediators responsible for the circulation of the works in the immediate vicinity of the art centre.
Hence the exhibition is set up in the Huarte Centre exhibition halls although some pieces can also be found outside of them. The displacement of the activities to schools and the fact that the regular logistics that characterize the organization of an exhibition have been rejected, making this project an experience designed to rethink the art centre as a public service. Some of the authors have lent their pieces obeying formats that can be transported and reproduced without their being detrimental to the original content.
Many of these works present a subject matter close to the events that we follow through the media. That is why the exhibition that can be viewed at the Huarte Centre gathers mainly works of a documental character. The works contained in this project have an educational vocation which does not mean that they all manage to be instructive. The art centre's users are free to choose those that they want to take home or to school, as well as any other place, to discuss them and maintain a relationship with them which is not often possible in the context of an exhibition hall. Although most probably there will be works that nobody will attempt to take with them. The alleged difficulty that is typically characterized by contemporary art is also an indicator of what we are prepared to learn.
Debates on experiences of a pedagogical nature will be conducted within the framework of the Huarte Centre's This is no an exhibition exhibition.
Roberto Aguirrezabala. "Net·art, 1998-2008".
Plataforma Hall (1st Floor).
Curators: Roberta Bosco and Stefano Caldana.
29 February - 6 April (2008).
Ever since his first piece of net.art, Easy One (1998), Aguirrezabala has explored the context of the observer's identity. In what:you:get (1999), he spies on the user to configure a profile of his/her personality. Badplayer (2002), is a project on monitoring users. In Scanner Game (2001), a chat system where everything spoken is scanned.
In his most recent net.art project, Easyfriend (2006), he investigates hybrid formats of cinema expanded on Internet with the help of conversational robots.
His work has been exhibited at numerous international festivals and awarded, with acknowledgements such as the first prize for best work for net.art "X Canariasmediafest" (2002), the "Mobiüs Barcelona" award (2006), "Mobiüs Barcelona" finalist (2000), and the prize for revelation artist of the "Festival de Navarra" (1998), among others. He has also received grants to produce projects for entities such as the Bizkaia Provincial Council, Caja Madrid, Mecad and Arteleku.
He is currently investigating the development of fictional narrative systems of expanded cinema, using mediums between cinema, the installation, photography and Internet.
More information: http://www.robertoaguirrezabala.com/
Keren Cytter: "Repulsion", "Dreamtalk" y "Mfpig".
HALL 1 (1st floor).
Video-installation: "Repulsion", "Dreamtalk" and "Mfpig".
Curator: Octavio Zaya.
Fechas: 1 March - 25 May (2008).
Whether it’s about a writer who produces experimental shorts or films, or an artist who takes on the attributes that characterize cinema and television, Keren Cytter’s work has awakened great international interest among museums, alternative centres and galleries, both because of the form and the content; because of the formulas and procedures she uses to interweave one with another, and the way in which she dissolves one into the other. Each of the three pieces that Keren Cytter presents in this first exhibition in Spain -Repulsion, Dreamtalk and Mfpig- brings us closer to the terms and parameters which her work has come to capture the attention of such prestigious and demanding artistic institutions.
Halfway between the styles, rules and aesthetics of the French Nouvelle Vague, the films of Dogma and video-art, Cytter's work passes through narratives that are indistinctly debated and resolved between documentary cinema, melodrama and sit-coms. From scripts by the same artist, we take part in an interpersonal display of relationships that centre on desire and memories, sex and love, cruelty and fear, envy, hate and jealousy. Almost a display of curiosities centring on identity, consciousness, and character; this microcosm of contradictions favours the tragic and comical, the superficial and profound, the subtlety and the banality of the everyday and the indifference and the yearning equally. "The humour comes out of embarrassment and the serious parts come out of stress," says Cytter. But the artist doesn’t control either. In any case, what she proposes is to provide the work a stable structure, that it make some sense, whatever it may be.
That structure and this sense always support the script, which Keren Cytter projects in scenes that correspond with what is being called kitchen sink aesthetic, homemade aesthetic. To put it another way, the intersubjective representation of the social relationships and realities she presents us always develop from a constant textual or cinematic challenge, which consider reality and fiction as interchangeable elements of experimentation, between the imperfection of reality which she presents and the almost amateur cinematic production on the one hand, and the textual and fictional systemization on the other. In any case, one is mistaken with the other and even the very script becomes part of the everyday scene of these almost homemade films. If on the one hand the situation seems artificial, on the other it supports a crude realism. The scenes, mostly in cheap flats, hardly decorated, of messy bedrooms or, in many cases, a kitchen, are simply sufficient for the action. But this contrasts with sophisticated plots and dialogues and even implausible situations that superimpose and contrast, sometimes they go in circles and even repeat, so as to illustrate incomprehension. Isolation and distancing, which is often the origin of difficulties and misunderstandings in personal relationships. In one of her films, a character states that, "It was early that day, but late in the script", and in another short, a girl says: "I think, I don’t know, I think it was my voice getting over from another scene".
Hugo Canoilas “Endless Killing”.
Hall 3 > Mural installation.
2008-03-01 - 2008-05-25
Curator: Chus Martínez.
Hugo Canoilas develops his art through paint. In his case, paint is the perfect medium to tackle the central theme of his work: the circulation and interpretation of images. Endless Killing, is a large mural that occupies the entire perimeter of the space set specifically for this exhibition.
The work can be understood as the sum of references taken directly from the history of painting. Scenes in which the painter has expressed history, an occurrence marked by the violent imposition of a group, or of a nation on another. Numerous examples can be cited, Battle of Isus by Albert Altdorfer, The shootings of May Third by Francisco de Goya, The Sacrifice of Isaac by Rembrandt..., all these images belong to western culture's representation of history, its political values and in some cases the testimony of the creation of a project: the nation state...
Opening march 1, 2008
Huarte Contemporary Art Centre
C/ Zubiarte, s/n - Huarte - Navarra
From Tuesday to Friday: 11:00 am - 2:00 pm and 4:00 pm - 8:00 pm; Saturday, Sunday and Holidays 11:00 am - 8:00 pm; Closed Monday.