Thursday, 6 April, 2017 - 19:00


















Using Marcel Broodthaers' book Un coup de dés jamais n’abolira le hasard (1969) as her starting point, Amaia Urra presents a singular reading of texts and interviews with the Belgian artist. 

Words follow one another as in a throw of the dice, forming new combinations and calling up hidden presences in language. “Bla: la lenguage la la Me”, or “Bla: La lectura la la la la”, could also be used as titles for Urra's session; each title opens up semantic folds that activate new ways of reading Broodthaers aloud.

Amaia Urra (San Sebastian, 1974). Her work focuses on language, the sung/spoken word, and action or the difficulty of naming things. It has been presented in different contexts: Art nomade, rencontre internationale d'art performance de Saugenay (Axeneo7 & SAW Gallery, Gatineau-Otawa), Líneas de acción (Casa Maauad, Mexico DF), In-presentable (Casa Encendida, Madrid) Radiodifusión: Emisión 0 y Emisión 1. by Mugatxoan (MST, San Sebastian), First Thought Best (Artium, Vitoria), Musac, Museo de Arte contemporáneo (Leon), Festival Plastique danse flore (Versailles), Zarata Fest, (Bilbao-Madrid), Tabakalera (San Sebastian), Festival 2D2H (Hendaya), Ecolalias RSS (Reina Sofía Radio, Madrid), and PAF Performing Arts Forum (St.Erme).

From 1999 to 2009, Urra worked with a variety of choreographers including Jérôme Bel, Xavier le Roy, Ion Munduate, Juan Domínguez, Cristina Blanco, and Cuqui y María Jerez. In 1998 she took part in the first Mugotxoan workshop at Arteleku, San Sebastian, and has continued to collaborate with the project.



Wednesday, 22 March, 2017 - 19:00














Screening of Traité de bave et d'éternité (Isidore Isou 1951, 123 min), proposed by Loty Negarti, followed by discussion. 

“My friends told me, after seeing the recent American film on Rudolph Valentino, that they'd thought of me throughout the screening. Rudolph Valentino is a lower Isou of the tango age, just as Isou is a higher Rudolph Valentino (higher by several degrees of meaning) from the age of lettrist dance. Actually, I'm no more than the presentiment of the Rudolph Valentino I'll become, in a world that will take on the appearance of my ideas and where there won't be any more Valentinos from yesterday, just what there is of Isou today. Then, the 'Isou' in Rudolph Valentino will be appreciated, and Isou will be appreciated for the Isou in him, and not for what there was of Rudolph Valentino in him. But we've witnessed a decline in the quota of Rudolph Valentino in every creator, or, to put it more clearly, creators have destroyed Rudolph Valentino.” (Isidore Isou La transformación Isouana del cine).

Loty Negarti (1982) Musician and poet with broken hearing. He is still living in Muskiz.



Thursday, 16 March, 2017 - 10:00
















Photo: Exhibition “Anywhen” Philippe Parreno. Tate Modern, Londres. 2016. Olatz González Abrisketa 


Bulegoa z/b is beginning a series of readings coordinated by Olatz González Abrisketa and Susana Carro Ripalda around the term “Cosmopolitics”.

The term “Cosmopolitics” was proposed by Isabelle Stengers in 1996 to suggest a way of doing politics that would disallow the existence of a “common world”, the “common good”, or “good intentions”; and hence the authority of certain voices in representing what was considered a single world. Stengers defends the existence of diverging worlds and multiple voices, which she encourages to converge in discussions that make no reference to transcendent generalisations or predetermined frameworks; but that should be relevant to particular questions and not necessarily give rise to agreements, but rather to new forms of thought that belong to nobody and where nobody is “right”. This cosmos of heterogeneously constructed assemblages serves as a framework for a series of proposals that extend political agency to other beings and worlds beyond the human, forcing us to think of how these worlds participate in our own constitution.

The sessions proposed for these cosmopolitical readings will look at what this conceptual framework is giving rise to in the field of anthropology, and intend to generate dialogue with other disciplines like art, sociology, philosophy, biology or politics.

Sessions will last from two to three hours. An introduction by the coordinators will be followed by a discussion of the session's proposed text, around a series of questions: To what extent is the idea of cosmopolitics a viable one? How to recognise and include “invisible” collectives or other beings in our decision-making processes? Are other ways of doing politics possible?


16 March 2017. Isabelle Stengers (2014). “The cosmopolitical proposal” (“La propuesta cosmopolítica”) Revista Pleyade, 14, pp. 17-41.

6 April 2017. Donna Haraway (2016) The Companion Species Manifesto (Manifiesto de las especies de compañia). Ed. Sans Soleil. (Chapters I, II and III, pp 9-72).

4 May 2017. Marisol de la Cadena (2010). “Indigenous Cosmopolitics in the Andes”. Cultural Anthropology, Vol. 25, Issue 2, pp. 334–370.

1 June 2017. Mario Blaser (2016). “Is another cosmopolitics possible?” Cultural Anthropology, Vol. 31, Issue 4, pp. 545–570.

Readings must be done individually BEFORE each session in order to move on to group discussion during the session itself.

To take part and be sent the texts for the sessions, please contact

Susana Carro Ripalda (Bilbao, 1965) is an anthropologist, and has taught at Edinburgh, Glasgow and Durham Universities. She is currently a researcher with the Bizkaia:talent programme at the Centre for Applied Ethics, Universidad de Deusto. Her work focuses on studies of science and technology, bioethics, interspecific relations, personhood and relationality, all in specific comparative international contexts (Mexico, Brazil, India, Britain and the Basque Country).

Olatz González Abrisketa (Bilbao, 1973) is an anthropologist and professor with the Universidad del Pais Vasco/EHU. As a researcher for the group “Identidad y cambio social”, she mainly focuses on sport and gender. She alternates written and audiovisual production in works such as the book “Pelota Vasca: un ritual, una estética” (2005) and the film “Pelota II” (2015) co-directed with Jørgen Leth. She previously collaborated with Bulegoa z/b in the “Lecturas perspectivistas” seminar in 2013.

Susana Carro Ripalda and Olatz González Abrisketa have organised several reading groups together on current tendencies in anthropology, and have published the article “La apertura ontológica de la antropología contemporánea” (2016).


Thursday, 23 February, 2017 - 19:00


















L’Anticoncept (Gil J. Wolman, 1951, 60 min.). Screening proposed by Loty Negarti, followed by discussion.

“On 11 February, 1952, Gil J. Wolman's film L'Anticoncept was screened at Avant-Garde 52, Paris. A few months later, the censors declared the film illegal on the grounds that it was an assault on what was considered to be good taste. Dumb. The film is a good example of the cinematic ideology shared at the time by Wolman and the Lettrist group. A circle of white light is screened onto a globe suspended from the ceiling, apparently giving rise to a delightful feeling of three-dimensionality. This is accompanied by a sound poem which runs separately and assembles itself in your mind as your imagination wills. I've read about the film, but never been able to watch it. Text and image are on the internet, but separately. Seeing it like that is just not the same; it's like sitting through a crime movie without ever knowing who the murderer was. What I like about the film is that it has to be staged at each site it's shown at - in other words, it must be interpreted. I want to do this at Illegal_Cinema and see if it still has the same force, or if it ends up being like a watered-down, decaffeinated cup of coffee.” (Loty Negarti).

Loty Negarti (1982) lives in Muskiz and works wherever he can.


Friday, 27 January, 2017 - 19:00


















Siddheshwari (Mani Kaul, 1989, 92 min.)
Screening proposed by Héctor Rey, followed by discussion. 

Mani Kaul (1944 – 2011) was an Indian film director and musician who strongly influenced the Paralleo Cinema movement, and a pioneer in the Indian New Wave.

I first encountered his work in Berlin through a friend, the American composer Cat Lamb, who had been a student of his. Although he only wanted to be known as a film director, Mani was a devoted dhrupadi who rose at five every day to sing. His master, the great dhrupadi Ustad Zia Mohiuddin Dagar, from the line of the Dagar, considered him one of the few people worthy of continuing the dhrupad tradition.

Siddheshwari is a poetical documentary from 1989 on the life of Hindustani thumri singer Siddheshwari Devi.

Héctor Rey (1986) is a composer, improviser and player who lives and works in Bilbao.



Tuesday, 10 January, 2017 - 19:00

Le Jardin d’essai [Dania Reymond, 2015, 42 min]
Screening proposed by Komisario Berriak, followed by discussion.

Samir is an Algerian film-maker who wants to make a low-budget film on a besieged city with a group of young amateur actors and actresses. As the auditions, rehearsals and filming progress in a lovely, calm garden, a peculiar family is formed, in which the issues in the film slowly take shape in a reality still affected by the wounds of the Algerian civil war. The park is seen as a refuge, where the exuberant hosts also act as a setting and a symbolic voice echoing the history of the country where young people aspire to find their own forms of expression.

The work of Algerian director Dania Reymond has been screened at different film festivals including FID Marseille, San Sebastián, New Directors New Films Festival, and Festival Côté Court de Pantin. Reymond studies film at the College of Fine Art and Contemporary Art Studio, Le Fresnoy, France.

This film, and the film to be screened on 9 January, are intended as two possible entrances into the garden from two different perspectives. The proposal is linked to the exhibition " menos un modo provisional de asentarse" en un lugar by Komisario Berriak, which will run from 14 December to 22 January 2017 at Azkuna Zentroa, Bilbao, and from 20 January to 26 February 2017 at Centro Cultural Montehermoso, Vitoria.

Monday, 9 January, 2017 - 19:00
























The Garden [Derek Jarman, 1990, 1h 28min]
Screening proposed by Komisario Berriak, followed by discussion. 

The Garden is Jarman's personal interpretation of the passion of Christ. Two lovers are humiliated, arrested and tortured in a non-linear collage that expresses the director's deepest, most personal concerns: religious dogma, individual beliefs, and spiritual journeys. The film was made in Jarman's house in Dungeness, Kent, close to a nuclear power plant. Jarman built his house and “Prospect Cottage”, a garden where he built his own set as a way of fighting the adversity of his context. This was his refuge until AIDS took his life in 1994.

Derek Jarman, a reference for experimental film, was also a stage designer, visual artist, writer, poet, designer and gay rights activist. Landscape artist Eunate Torres-Modrego, from Atelier de paisaje, will also attend the screening to give us her perspective on Prospect Cottage.

This film, and the film to be screened on 10 January, are intended as two possible entrances into the garden from two different perspectives. The proposal is linked to the exhibition " menos un modo provisional de asentarse en un lugar" by Komisario Berriak, which will run from 14 December to 22 January 2017 at Azkuna Zentroa, Bilbao, and from 20 January to 26 February 2017 at Centro Cultural Montehermoso, Vitoria.

Thursday, 22 December, 2016 - 19:00

















In January 2013, Chilean composer Santiago Astaburuaga composed Pieza de Escucha I. Guitarrist Jon Mantxi came upon the piece (only he knows how) in June 2016. In July 2016 he asked Fernando Ulzión to play it with him. The plan was cut short by the summer. The piece was freed. A second attempt in September seemed like it might succeed. Guitarist and saxophonist met, and after hardly having read, deciphered, analysed or talked about it, without having studied it or done pretty much anything with it, they began to play it, without understanding it at all, or knowing what they were doing at all, or having any idea how far they would get with it.

In January 2013, Chilean composer Santiago Astaburuaga composed Pieza de Escucha I. This was the first of a series of five pieces he composed over a year, the “main year” of his postgraduate studies at the Escuela Nacional de Música, Universidad Nacional Autónoma, México. His thesis for a Masters in Music in Composition, 165 pages long and written in 2014, was the product of his analysis of the creation of these pieces. 

Jon Mantxi and Fernando Ulzión picked up on Pieza de Escucha I, and after a brief conversation to agree on a minimum, basic communication process and functional arrangement, they began to feel their way forward with the piece. It comprises a small palette of sounds and rules. Eight parts, six minutes long each, limited to seven multiphonics, eleven noises, eight high-pitched sounds and small parts of “listening-action” within twelve pairs of actions. A restricted language, which the musicians treat as the birth of a clumsy, stuttering language. It hardly utters, hardly sounds, can hardly be understood, hardly communicates. The musicians gradually agreed on the limited palette of sounds (which may even have seemed too large to them) until they completed it. They have the morphemes, which played in time make up the musical phrases of the piece. But they don't understand the meaning of them, or the rules behind them, or the meaning of their order. They obey the composition of the piece to the best of their ability, but they interpret it like illiterates reading Sanskrit. The piece needs two musicians and the two musicians use the piece to play. There is a relationship between musicians and composition which may not be ideal, but is a relationship even so.

The piece will be interpreted in its entirety (around 50 minutes) on Thursday 22 December at Bulegoa (Bilbao). The piece will come to an end, and failure is a possibility, for musicians and audience. But everything that makes up a musical evening will be there: a composition which obeys a set of musical rules composed by a composer played by musicians with instruments before an audience at a venue set up for the interpretation of a piece composed by composer played by musicians with instruments before a listening audience. 


Jon Mantxi uses guitar improvisation as the basis of his practice. His solo work began in 2010, alongside his group work with Gora Japon, but has become more consistent since 2015 when he moved from the electric to the acoustic guitar and began to play regular concerts. He likes clichés and the physical aspect of guitar playing, and also enjoys playing with space and the specific situation each moment provides. He also likes to consider listener's expectations, theatre, and casting doubt on musical virtuosity. He has played solo at Festival Zarata Fest (Bilbao) , Espacio Tangente (Burgos), Centro Huarte (Huarte, Navarra), Bizkaia Aretoa UPV-EHU (Bilbao), Festival Arto Artian (Azkoitia), Club Larraskitu (Bilbao), Azkuna Zentroa (Bilbao), Katakrak (Pamplona), Espacio Zas! (Vitoria), and other venues.

Mantxi has played with Karidadeko Benta, Gora Japon and Billy Bao; and has also played in several different improvisation-based groups such as Mattin & Quartet, Konbo Secreo, Zetangauz; and impromptu groups for particular concerts. 

Fernando Ulzión (Bilbao, 1975), who is trained/maimed as a saxophonist, began his career in music just seven years ago. His debut in 2009 was with the installation It's tricky with visual artist Juan López Díez, presented at Ex Machina music festival with impromptu group Ñu Kids On The Mem with Sergio Llanos and Naiara Anasagasti (Bakelite duo). He returned to silence until 2012, when he brought out Ulzión (Grabaciones Redilar), a cement-covered CD which was recorded in one square metre of his living room in the flat he shares with his partner and four-year old son. In July 2013 he joined up with several of the members of Villapellejos to set up the povera rock group Los Plomos, who have played intermittently in locations such as Cerdigo, Cantabria. In November 2013, Ulzión joined M.A.G. Ensemble, directed by Miguel A. García (Xedh) with Lorea Argarate, Ibon RG, Myriam Petralanda, Mikel Vegas and Unai “Piñas”. The group presented a piece at Sala Bilborock in MEM Festival. In May 2014, he played Concierto 2000, by Oier Iruretagoiena and Loty Negarti, with Jon Mantxi, Ibon RG and the two composers. In 2014, he joined western electric pop music group La Hora del Primate (made up of members of groups such as Münsterland, Los Paniks, Inserta, RoscaChapa, Cápsula…) and recorded a single with them. In spring 2014, the urban chamber music group El Palomar, was formed as part of Zarata Fest, with Álvaro Brutus Matilla (Karpenter), Txemi Artigas (Villapellejos), Alberto López (Billy Bao) and Miguel A. García. The group first played at the Madrid edition of the festival. In 2015, Ulzión started ultrajazz band Orbain Unit with two drummers, Iker Arrazola (Akauzaste) and Joxean Rivas (Killerkume), guitarrist Mikel Vega (Killerkume) and bass player Txemi Artigas. That year, the group played at Zarata Fest, and in 2016 they brought out Repentino Records' first reference, Suiseki. In 2016, Fernando Ulzión began his solo world tour with a single concert at Sala Sarean, Bilbao, with guitarrist Jon Mantxi. He played Qualksums, by Miguel A. García, with María Seco, Matías Riquelme, Mikel Vega, Myriam Petralanda and Mayi Martiarena at Larraskito Klub. 

Fernando Ulzión is not a musician. He is a non-musician. He is not an instrumentalist. He uses instruments. The noble nature of the alto saxophone, the contrabass saxophone. It is ignoble. Metal. Flesh. Blowing. Saliva. The tradition of music. The tradition of sound. There is no career. Almost. Noise. Almost. Nothing. Almost.

Santiago Astaburuaga, Composer of Pieza de Escucha I (Santiago de Chile, 1980).
 Composer, interpreter and researcher. From 2000 to 2012 he played bass and composed for MediaBanda, Yonhosago, Akinetón Retard, Klaine Trío and Proyecto Ensamble. Since 2010, he has been a member of the & collective, whose work focuses on the creation and interpretation of experimental scores and the translation and publication of texts. Astaburuaga has directed music workshops with autistic children and youth in Chile (2011) and Mexico (2014-2015). From 2012 to 2014 he studied for a Masters in Composition at the UNAM, Mexico DF, and is currently doing PhD research at the same university.
















Saturday, 17 December, 2016 - 19:00
























Peter Weiss (1916-82), a Swedish-German painter, filmmaker and writer, often felt confused by the political occurrences of his city, his country and the world. He was uncertain of how to understand them in their full complexity. It seemed to be an impossible task. 

Today, we still know of this impossibility or difficulty in recognising complex contexts. We know of it; but perhaps do not know of Peter Weiss or one of his novels, in which he develops a solution to the problem of understanding the lack of clarity or, to use an almost Habermasian term, Unübersichtlichkeit. This highly characteristic modern dilemma determines the main concept of his novel The Aesthetics of Resistance, which was written in the last ten years of his life.

The Aesthetics of Resistance is a chronicle of real historical occurrences, and also a fictional or constructed autobiography. It deals with the period from 1937 to 1945, of the Spanish Civil War and World War II, and the anti-fascist resistance and international workers' movement. The vast complexity of these contexts is obvious; the threads of its socio-political weave reach us today, where we find ourselves with the same problem as Peter Weiss: to try to read and fully understand this complexity and its interweavings.

While the content of the novel, “resistance”, seems clear, it is not so apparent what the “aesthetics” in the title might be referring to. What can aesthetics have to do with resistance and history, particularly with such a complicated history? This, precisely, is the focal point of my talk. We will be looking at Volume I of the novel, where Peter Weiss reflects the situation in Spain during the Civil War.

Peter Weiss, the surrealist, made several documentaries on reality in the fifties. After this, he began to carry out extensive research, consulting archives and visiting original locations, compiling the documentary foundations for his great novel. His life journey had taken him through the countries and places his novel would take place in, all except for one country: Spain. In 1974, he set off on a journey with a Spanish poet and translator friend of his. They travelled from Stockholm to Albacete, to the headquarters of the International Brigades. But this was not the site that really aroused Weiss' interest; he was drawn to a different, more distant place. This place, in the outskirts of Albacete, is where my talk begins.

To take part in this session and be sent the texts for reading, please contact

Andreas Wutz (Munich, 1962) is an independent artist who graduated in painting and installation, having focused since on photography, installation and film. His work is based on strategies drawn from the documentary, art, and experimental film; and is driven by a profound interest in political and social themes and in different historical references. From 2013 to 2015 he lectured in Audio-visual Art at the Instituto Europeo de Diseño, Barcelona, and the University of California, San Diego. He currently lives and works in Bilbao.