THE BLACK WHALE is an exhibition project which departs from the crisis provoked by the accident of the Prestige oil-tanker back in 2002 — which was one of the most intense social and political moments of the last decades in Spain — to contextualize and interpret it on a wider spectre. Taking the oil industry and the multiple factors which surround it as one of the main visible or physical manifestations of contemporary societies, the project opens itself to subjects as diverse as nature exploitation, colonialism, the history of modernity, the myth of an endless progress, maritime commerce, globalization, or war.

Dates: 5 October 2012 - 31 March 2013
Location: MARCO, Museo de Arte Contemporánea de Vigo, Príncipe 54 | 36202 Vigo | Spain
Curator: Pedro de Llano
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research by walking is a curatorial project developed by Alba Colomo during her residency at Het Wilde Weten in Rotterdam. It centers on the role of artists in the social transformation of the South of Rotterdam - a zone with a large presence of 'creative professionals' - and on how this relates to the urban development policies of the local institutions. The high concentration of artists - and the acclaimed 'creative class' - that live and work in this part of the city, seems to be one of the strategies employed by the local authorities to regenerate the socio-economic environment of the area.

With: Kim Bouvy, Left Hand Rotation, and Iratxe Jaio & Klaas van Gorkum.

9 October - 11 November 2012

Sala Rekalde

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Leire Vergara talks to Iratxe Jaio and Klaas van Gorkum about artistic practice, notions of participation and democratic institutions. An excerpt from the publication Complicidades = Konplizitateak = Complicities
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A text by Iñaki Martínez de Albéniz and Gabriel Villota Toyos, from Complicidades = Konplizitateak = Complicities
The idea that we will be defending here is that certain contemporary artistic practices, indebted to the conceptual, post-conceptual and/or relational practices of recent times, are loaded with a series of tensions that point towards an interesting and fertile terrain of crossbreeding between what we could describe for now, in a generic and somewhat imprecise way, as “social”, on one side, and purely “aesthetic”, on the other.

Some of these practices, such as those we shall be commenting on in this text, work as a clear example of the potency and tensions arising from these types of performative operation when they are surrounded by an excess of intention. And, in this sense, they are a further example of a process that is becoming a symptom of contemporary art: the urgency of recovering the certainties of interpretation (of hermeneutics) in response to the unbearable ambivalence that is constitutive of every performance, with this recovery running the risk of neutralising what there is of discovery in performance.
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The Basque Government has recently published a monography of our work, with an overview of projects realised between 2001 and 2011. It contains a text by Iñaki Martínez de Albéniz in collaboration with Gabriel Villota, and an interview by Leire Vergara with the artists. It was edited by Miren Jaio and designed by Gorka Eizagirre. Contact us if you desire a copy.

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Presentation of the publication 'Amikejo', tuesday 22 May, 20h at Múltiplos in Barcelona.

Amikejo has been produced in coordination with a series of four exhibitions by artist duos, curated by Latitudes (Max Andrews & Mariana Cánepa Luna) at Laboratorio 987, the project space of the Museo de Arte Contemporáneo de Castilla y León, MUSAC (exhibitions by Pennacchio Argentato, Iratxe Jaio & Klaas van Gorkum, Uqbar-Irene Kopelman & Mariana Castillo Deball, and Fermín Jiménez Landa & Lee Welch).

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An exhibition at Het Wilde Weten, curated by Alba Colomo. With Iratxe Jaio & Klaas van Gorkum, Kim Bouvy and Left Hand Rotation. Only 15.05.2012 during De Derde Dinsdag

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“Het is een voorrecht deze daad van overdracht der soevereiniteit te verrichten tegenover de geschiedenis of beter gezegd: voor het aangezicht Gods. Die weet waarom dit samengaan in vrijheid niet eerder en ook niet later werd bereikt, en die het falen kent der generaties, maar die ook ziet of wij kunnen dienen in het plan voor de gang der mensheid.”

Koningin Wilhelmina in 1949

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Op Nationale Bevrijdingsdag 2012 is het voormalig Van Heutsz monument opnieuw onthuld door spoken word artist Olympia Latupeirissa. Bij deze gelegenheid sprak zij de speech Foute Keuzes uit, waarin het publiek werd uitgenodigd om het standbeeld weer te gebruiken als het strijdtoneel voor ideologische conflicten. Hierin nam zij zelf het voortouw, door het beeld te claimen voor de onopgeloste kwestie van de behandeling van Molukkers door de Nederlandse overheid.
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