Solo exhibition, curated by Latitudes, at ADN Platform, Sant Cugat del Vallès, Barcelona, Spain, 25 January–30 April 2014

The Margins of the Factory presents two recent projects by the Rotterdam-based duo Iratxe Jaio & Klaas van Gorkum that are motivated by their interest in art's relationship with labour. Each explores sculptural form and manufacturing processes from the perspective of artists who have not usually made objects. Jaio & van Gorkum undertake what are in part sociological investigations by documenting the local, marginal effects of the displacement of manufacturing industries over the last two generations with the emergence of the global market. Emerging from the artists' personal history and implicating the direct effects of their own vocation as well as work they ask of others, the projects are moreover complicit in asking what kind of industriousness brings value and what political life objects might have.

The exhibition opening features a performance by British “avant-folk” musician Nathaniel Robin Mann, developed in collaboration with Jaio & van Gorkum around the raw footage of Work in Progress and the tradition of work song.

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For the opening of the exhibition "The Margins of the Factory" at ADN Platform, Nathaniel Mann performed his rendition of the famous traditional Basque song "Oi Pello Pello". Nathan sings it to raw footage from "Work in Progress", showing men and women at work in the Lea Artibai region in Basque Country, where they trim rubber parts destined for the global automobile industry. While singing, he manually assembles a device which broadcasts his prerecorded voice to a transistor radio, with which he then performs a breathtaking duet.
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Jaime Cuenca wrote about "Work in progress" and "Producing time in between other things" for the catalog, published by Sala Rekalde, that came out on occasion of our solo exhibition curated by Alex Baurés at FRAC Aquitaine.
A veiled reference to the language of the ready-made shines through here, which is subverted at the same time that it is being cited. The ultimate goal is not the artistic appropriation of objects by removing them from their context of production, but precisely the exhibition of such a context, of the processes that bring it to life, and of the contradictions that traverse it. Extracting the diverse forms of production from the fabric of life in which they are practiced and displaying them side by side, in the most dispassionate way, they themselves reveal the relations that link and oppose them. Artistic activity operates here at the margins of the amateur work of Jos van Gorkum and the piecework carried out by the women of Markina – both, in turn, at the margin of the factory – and in doing so questions its own form of production.
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Tiempo Muerto, a three-screen installation about the Barakaldo Zombiewalk is being included in the exhibition: The tactics of the adversary
October 28 to January 30 in NORMAL Espazo cultural intervention , Universidade da Coruña

The exhibition has been extended to 15 Februari 2014.

Curator and production: MANUEL SEGADE
Participating artists: Mohamed Bourouissa, Cyprien Gaillard, Núria Güell, Iratxe Jaio and Klaas van Gorkum, Jennie Livingston, Carme Nogueira, Fernando Sánchez Castillo, Mladen Stilinovic

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Frac Aquitaine presents a solo exhibition of Iratxe Jaio & Klaas van Gorkum. The artists have been invited by curator Alexandra Baurès to pursue their reflection on notions of work and the production of art within conditions marked by globalisation

3 October 2013 - 21 December 2013
Vernissage Thursday 3 October 2013, 18h30

Artist talk between Alexandra Baurès, curator of the exhibition and the artists Iratxe Jaio and Klaas van Gorkum:  Thursday 3 October 2013, 17h30-18h30

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Últimas Palabras will be exhibited by CCEBA at the Fase 5.0 festival in Buenos Aires. 8 - 11 November, Centro Cultural Recoleta.

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In "Últimas Palabras" (Last Words), an actor and a speech instructor rehearse a text based on the final statement made by Alfredo Astiz at his trial. This ex-commander of the Navy during the last military dictatorship in Argentina is currently serving a life sentence for crimes against human nature.

Also known as the "Blond Angel of Death", Astiz was notorious for his chameleon-like ability to shift character, passing himself off as a victim of repression in order to infiltrate human rights organisations as a spy.

This re-enactment of his last words is a study of the relationship between the political art of oratory and that which Hannah Arendt has called "the banality of evil".
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Iratxe Jaio and Klaas van Gorkum have been selected to take part in the Mondriaan Foundation residency at Lipac, Laboratory of Investigation into Contemporary Art Practice, in Buenos Aires, Argentina.

On Saturday the 18th of May, they will introduce their research project "Draw some lines in the sand and call it an institution" at Centro Cultural Rojas. The artists will talk about the challenges of organising oneself collectively at different stages of institutionalisation, and the theatrical aspects of staging justice. They will be evaluating their own experiences in Occupy Amsterdam, where they initiated "The Beursplein Hearings", a formal structure within the camp that collected testimonies from its members on the ethical dilemmas they encountered while dealing with social problems and keeping order on the public square.

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A project curated by Martí Manen for Galería Liebre in Madrid.

From the 6th of April to the 4th of May 2013

Artists:

Sebastian Beyro, Black Tulip, Bonus Extra, Kalle Brolin, Priscila Fernandes, Guillem Juan Sancho, Sandra Paula Fernández, Ana García Pineda, Luis Pérez Calvo, Iratxe Jaio & Klaas van Gorkum, Laramascoto, Connie Mendoza, Carlos Motta, Carl Palm, Pepo Salazar, Yes.

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On the 8th of December, Iratxe Jaio and Klaas van Gorkum will talk in L’occasione about their experiences in Occupy Amsterdam, where they initiated a kind of "Truth Commission" in the camp. Through a series of hearings, fellow Occupiers were questioned one by one about the ethical dilemmas they encountered while maintaining order on the square, in relation to the shared ideal of a radical, participatory democracy. Their experiences in the camp will serve, on the one hand, as a starting point for a critical reflection on the group dynamics that lead a community towards and astray from consensus and principles of equality. On the other, as a case study for the role that artists may play in these processes, using the methodology of the cross-examination and the trial as artistic instruments.

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