Now

BGE
Thursday, 21 September, 2017 - 10:30

 

 

 

 

 

 

 

 

 

 

 

 

 

Bulegoa z/b and Azkuna Zentroa have organised The Papers of the Exhibition (1977-2017) International Curating Symposium, to be held on the 21st, 22nd and 23rd September 2017.

The Papers of the Exhibition (1977-2017) is a project which started with a prologue in 2016 and will be developed over three years with several international encounters. The purpose of the project is to study specific exhibitions held between 1977 and 2017, and their relationship with the idea of essay.

First Encounter (1977-2017):
Focused on the decade 1977-1987, this first encounter in September 2017 sets up a dialogue on the different views of this period from the present, bearing in mind the geopolitical, cultural and social context of the time and its relationship with art and the idea of exhibition. The programme includes conferences by Tamara Díaz Bringas, Bojana Kunst, Dora García, Carles Guerra, Franco Berardi Bifo and Adrian Heathfield, and two seminars run by the latter two.

Registration:
Conferences: Free admission with invitation (collect at Az’s Infopuntua) until full capacity is reached.
Seminars (25€ / 18€ with Az card): pre-register via the web www.azkunazentroa.eus

Registration deadline: July 14th, Friday.

Programme:
21st September 2017:

10:30am-2:00pm: Spirited Affinities. Seminar run by Adrian Heathfield

6:00pm: Todo lo que no sabía en los 80. Dora García
7:00pm: 1979. A Monument to Radical Moments. Carles Guerra

22nd September 2017:
11:00am-2:00pm: En la esfera del caos. Cien años después de la revolución soviética. Seminar run by Franco Berardi Bifo

5:00pm: Out in the Open: Feminist Practices, Autonomous Life and Exhibition. Bojana Kunst
6:00pm: Si el agua no ahogase un río. Tamara Díaz Bringas
7:00pm: A Recurrence of Duration. Adrian Heathfield

23rd September 2017:
12:00pm: El año en que el futuro se acabó. Franco Berardi Bifo
1:30pm: Cocktail

Spirited Affinities. Seminar with Adrian Heathfield
Heathfield will screen and discuss his recent film with Hugo Glendinning: Spirit Labour. Concerned with the ‘persistence of performance’, the film works to trace the energetics of trans-generational cross-form collaboration. It proposes the notion of ‘spirited affinities’ as barely visible infrastructures of culture: consistent, binding but morphing transmissions between artists and artworks across time. The film speculates beside one such ‘spirited affinity’ running between sculptor Janine Antoni, dance-maker Anna Halprin and writer Hélène Cixous. In the seminar, performance’s historical survival will be discussed in relation to genealogies of ‘spirited affinity’, the curation of acts of retrospection, and in the light of art’s re-attunement to the non-human and to the powers of the unknown.

Everything I didn't know in the 80s. Dora García
I studied Fine Arts in Salamanca and later in Amsterdam from 1985 to 1991. Back then, artists were rock stars and aspiring artists were aspiring rock stars. In Spain, male chauvinism was rampant (and remains so), and the myth of the heterosexual and hypersexual masculine ethos was alive and kicking (no longer as much, uff). Or that's what I remember anyway. Everyone wanted to go to New York, to be represented by a gallery, to sell works at exorbitant prices. Role models were Schnabel, who was adored in Madrid, or Barceló. There seemed to be no other alternative. And yet, all the while there existed Group Material and Felix González Torres. There was Lee Lozano and there existed (and exists) David Hammons. There was Ulises Carrión, Jack Smith and Charlotte Posenenske (although she was no longer an artist). Ana Mendieta, Glauber Rocha and León Hirszman also existed, such as the Conceptualisms of the South with Tucumán Arde, Graciela Carnevale, Helio Oiticica, Lygia Clark and CildoMeireles. All of these names were fundamental in my work and in that of the artists of my generation. And yet, in those years defined by José Luis Brea as "after the enthusiasm", nobody talked to me about them.

Within the sphere of Chaos. 100 years after the Soviet revolution. Seminar with Franco Berardi Bifo
The Soviet revolution was the pivotal moment of the modern promise, the project of Reason being materialised into historical reality. In the following decades known as post-modernity, this promise revealed itself as an illusion. In 1977, Punk culture declared the future, as a progressive and expanding process, to be a failure. The socialist project was certified a failure in 1989. Many declared history was on the way out. Fukuyama on the one hand, and Negri and Hardt on the other, proclaimed the eternity of the neoliberal empire. It was an illusion, for today, 100 years after the Soviet revolution, Chaos is the general form of history.

Out in the Open: Feminist Practices, Autonomous Life and Exhibition. Bojana Kunst
In this lecture I would like to present some feminist art practices from the period 1979 – 1989, that explored how the reorganisation of the reproductive sphere, the central theme embraced by the first generation of feminists, did not necessarily lead to more freedom and emancipation, but actually just the opposite. Because the battle for women’s rights was being waged in the field of reproduction, some of the feminist authors were particularly aware of the paradoxes between the new self-organised, flexible and precarious subjectivity and the affective, self-defined and so-called autonomous life. In this presentation I will focus on the work of several feminist authors from that period (e.g., Helke Sanders and Sanja Iveković), whose artistic and activist practices thematised the paradoxical visibility of feminist practices and tied them closely to the infrastructure of the city, the public space. These authors showed how neither the workplace nor the home are the right stages for showcasing or fighting for the cause of feminism. Rather, it is this metropolitan, urban and infrastructural environment through which we move in our everyday lives and which is at once defined by the scarcity of vital resources and the lack of support for an autonomous life.

If the river was not drowned by water. Tamara Díaz Bringas
James Bay Project. A River Drowned by Water was a sample of the work of the artist Rainer Wittenborn and the writer Claus Biegert presented at the MoMA of San Francisco in 1981. The project regarding a dam that flooded indigenous lands in Canada also constituted the last exhibition presented by Rolando Castellón (Nicaragua, 1937) who was then a curator of that institution. Self-taught artist and curator, Castellón was invited to become a member of the San Francisco MoMA in 1972 with the aim of heading up a programme intended for "communities" after having promoted the foundation of the Galería de la Raza in that city, active since 1969. Castellón’s working style, his living work, his foreign and amateur, anti-colonial and "Post-Colombian" positions, invite us to interrogate, among other grammars, those of the exhibition.

A Recurrence of Duration. Adrian Heathfield
Writer and curator Adrian Heathfield talks about his work with artist Teaching Hsieh, particularly focusing on their recent collaboration –Doing Time– Taiwan’s exhibition at the 57th Venice Biennale. Hsieh is renowned for a series of one year long performances in the late 1970s and early 80s that pushed physical and psychological limits and drew attention to time as an artistic material. Heathfield speculates on curatorial practice and performance, their relations with remaining and remains. He discusses the prescience of Hsieh’s work in terms of capitalism’s reformulation of labour and its regulation and acceleration of life.

The year in which the future died. Francesco Berardo Bifo
1977 can be considered as a turning point in history. It is not only the year in which neoliberalism began to assert itself and in which new communication technologies emerged, but also the year in which a radical cultural movement took shape, though characterised by a post-political nature. Meanwhile, social and aesthetic anxiety was expressed in the words No future.

Forty years later, 1977 can be considered the end of confidence in the future, and the beginning of a precarious era.

Biographies:

Franco "Bifo" Berardi (Bologna, 1949) is a writer, philosopher and Italian political-cultural agitator. He received his B.A. in Aesthetics from the faculty of Philosophy and Arts of the University of Bologna. He was the founder of "Radio Alice" and a leading figure of the Italian Autonomia Movement. He currently teaches Social Media History at the Accademia di Brera in Milan. In 2002 he founded "TV Orfeo", the first Italian community television station. From among his works are: The Factory of Unhappiness, Traficantes de Sueños, Madrid (2003); Postalfa Generation, Tinta Limón, Buenos Aires (2007); The Soul at Work: From Alienation to Autonomy, Semiotext(e), Los Angeles (2007); Precarious Rhapsody: Semicapitalism and the Pathologies of the Post-alpha Generation, Minor Compositions, London (2009); After the Future, AK Press (2009), Felix, Editorial Cactus, Buenos Aires (2013); Después del Futuro. Desde el futurismo al cyberpunk. El agotamiento de la modernidad. Enclave editorial, Madrid (2014).

Tamara Díaz Bringas (Cuba, 1973) is a researcher and curator, and currently lives in Madrid. She was recently the general curator of the X Biennial of Visual Arts of Central America, Costa Rica, 2016. She received her B.A. in Art History from the University of Havana in 1996 and graduated in 2009 from the MACBA’s Programme of Independent Studies, Barcelona. Between 1999 and 2009 she was assistant curator and editorial coordinator of TEOR/éTica, San José. She has curated various exhibitions, among others: Playgrounds. Reinventar la plaza –together with Manuel J. Borja-Villel and Teresa Velázquez–, Reina Sofía Museum, Madrid, 2014; assistant curator of the 31 Bienal Pontevedra: Ut(r)ópicos, dedicated to Central America and the Caribbean and directed by Santiago Olmo, Galicia, 2010. Together with Virginia Pérez-Ratton she curated Estrecho Dudoso, San José, 2006. TEOR/éTica has published a selection of her essays in the book Crítica próxima, 2016.

Dora García is an artist who uses a range of media including performance, HD film, text and installation. Her practice investigates the conditions that shape the encounter between the artist, the artwork and the viewer, focusing more particularly on the notions of duration, access and readability. García’s pieces often involve staging unscripted scenarios that elicit doubt as to the fictional or spontaneous nature of a given situation, setting rules of engagement or using recording devices to frame both conscious and unconscious forms of spectator participation. García’s work also explores the political potential rooted in marginal positions, paying homage through several works to eccentric and often anti-heroic personas. Dora García has participated in dOCUMENTA13 (2012), Biennale di Venezia (2011, 2013, 2015), Biennial de São Paulo (2010), the Biennale of Sydney (2008), Skulptur Projekte Münster (2007), Istanbul Biennial (2003).

Adrian Heathfield is a writer and curator working across the scenes of live art, theatre and dance. He is the author of Out of Now a monograph on the artist Teaching Hsieh and editor of Perform, Repeat, Record and Live: Art and Performance. He co-curated Live Culture (Tate Modern 2003) and the creative research projects Performance Matters (2009-14) and Curating the Ephemeral (2014-16). He was an attaché for the Sydney Biennale 2016, co-director with free thought of Bergen Assembly 2016, and curator of the Taiwan Pavilion, Venice Biennale 2017. He is Professor of Performance and Visual Culture, University of Roehampton, London. www.adrianheathfield.net

Bojana Kunst is a philosopher, playwright and performance theoretician. She works as a professor at the Institute for Applied Theater Studies in Justus Liebig University, Giessen, where she is leading an international master’s program in Choreography and Performance. She is a member of the editorial boards of Maska, Amfiteater and Performance Research magazines. Her most recent book is Artist at Work, Proximity of Art and Capitalism, Zero Books, Winchester, 2015. http://kunstbody.org
 

 

 

 

 

 

Tuesday, 11 July, 2017 - 19:00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Screening of Lucio. Session proposed by Terri Florido and followed by discussion.

Lucio is a documentary film from 2007, written and directed by Aitor Arregi and José María Goenaga. It looks at the life of builder and anarchist Lucio Urtubia, who for decades led acts against the capitalist system. Narrated in the first person, the film speeds up to become something close to a thriller; another story to complement official history from the late twentieth century.

Terri Florido (Bilbao, 1972). Sound and portrait artist, camera operator. Perpetually lost in search of meaning.

 

BGE
Thursday, 6 July, 2017 - 17:00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Thursday 6 July 2017 – 17:00
Friday 7 July 2017 – 10:30
 

In 2007, Bulegoa z/b is setting up a course on curating through a series of encounters. Each of these will be divided into two sessions and directed by a person who we invite to interrogate the term “curating”. Peio Aguirre will be conducting the first of these encounters.

Bulegoa z/b is an office of art and knowledge. We have often wondered what curating can mean – if the umbrella term could cover sensibilities and ways of working in different areas; if we can speak of curating in the specific sense of making exhibitions, but also in an expanded sense.

From there, curating can be seen as an impulse that responds to a desire – a desire to see something where before there was nothing; to give rise to an exhibition, an artefact composed by objects that share time and space; to generate thought through the relationships that come about between the objects; and also, to quote artist Luca Frei, a desire to produce a moment of attention.

To take part in the session and be sent information, please contact bulegoa@bulegoa.org

Current and past history of display as an exhibition method. Thursday 6 July, 17:00
To display is to exhibit, show or unfold. In curatorial jargon, the term refers to the mounting or design of exhibitions, which is an essential part of current curatorial studies and practices. This session analyses the origin of display and its evolution in some of the major exhibitions of twentieth century. The history of display is intersected by interaction and collaboration between different actors: museum workers, historians, artists, designers and architects. Exhibitions such as Film und Foto, Stuttgart 1929, and The Family of Man, at the MoMA, New York, in 1955 are landmarks that revolutionised the exhibition as a medium. A place will also be given in the session to another exhibition, the seminal Italy: The New Domestic Landscape (1972), organised by architect and then curator at the MoMA, Emilio Ambasz, where “radical” or utopian experiments in Italian design and architecture of the time (Superstudio, Archizoom, Sottsass and others) were shown. The session will include some examples of contemporary display, as well as examples of it conceived by Aguirre for different exhibitions.

Fortunes of So-called “Relational Aesthetics”. Friday 7 July, 10:30
Few concepts in art have been so extensively used in the past two decades as “Relational Aesthetics”. Since the publication in 1998 of Nicolas Bourriaud's Esthétique Relationelle (Les Presses du Réel), the expression has become a category or defining label for a period in time and a set of art practices and ways of making. The main novelty in relational aesthetics is that it led to a change of paradigm in art, where the spectator's active interpretation, interaction, participation and conviviality became inescapable aspects. Associated with a number of artists who emerged in the nineties such as Rirkrit Tiravanija and Dominique González Foester, relational aesthetics as a category often invites misunderstandings. In this session, rather than taking for granted the clichés associated with it, we will try to inquire into the spirit of the concept in the early nineties and how it gained weight in a number of exhibitions in France. Among these was Traffic, curated by Bourriaud himself at the CAPC, Bourdeaux in 1996, which was where “the relational” was catapulted into curatorial practice. We also look at the work of some of the artists who contributed to the change in paradigm, such as Liam Gillick and Angela Bulloch. The session will end with a comment on the influence and repercussions of “the relational” on the Basque and Spanish art context.

Peio Aguirre is an art critic, writer, independent curator, editor and writer of the book La línea de producción de la crítica (consonni, 2014). He has published in national and international magazines and newspapers such as Cultura(s) of La Vanguardia, Mugalari of Gara, Exit, A-desk, Afterall, A Prior Magazine, Exit Express, Flash Art, El estado mental, e-flux journal, Concreta, Babelia of El País, and Campo de relámpagos. He is the curator of the exhibitions Imágenes desde el otro lado, CAAM, Las Palmas de Gran Canaria (2007); Arqueologías del Futuro, sala rekalde, Bilbao (2007); Asier Mendizabal, MACBA, Barcelona (2008); Néstor Basterretxea, Forma y Universo, Museo de Bellas Artes de Bilbao (2013); Una modernidad singular. “Arte nuevo” alrededor de San Sebastián 1925-1936, Museo San Telmo, Donostia-San Sebastián (2016); 38 de julio-37 de octubre de Juan Pérez Agirregoikoa, Artium, Vitoria-Gasteiz (2017), and others.Since 2006, he has been writing cultural critique in his blog Crítica y metacomentario: http://peioaguirre.blogspot.com

 

Saturday, 24 June, 2017 - 10:00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Karlos Martínez B.: “Les effets de la vie en groupe” (Bilbaoarte, Bilbao, 2016)

I remember when I was a child and would choose books for their formats rather than their content, but how to judge a book by its cover, if the cover is still to come? 

Coinciding with the Summer Solstice events, I am proposing the session “Readers want what is important to be clearly laid out; they will not read what is too troublesome” (a quote by German typographer Jan Tschichold) based on Marcel Broodthaers' book Pense Bête (1963). I will be showing some of the most recent works from my participation in the study group The Book To Come. The session will use the poster format as an open point of departure, defending the essence of a book, and examining its function as an object in art, and will be added to with the presentation of an edition originally produced for the session, and a workshop with Maite Martínez de Arenaza (La Taller-Erredakzioa). The session will focus on the use of the printing medium as a space for experimental collaborative practice.

Pense Bête was Broodthaers' third and last book of poems and is also considered his first “artwork”. It marks the point in time when, owing to the difficulty of selling his books, the artist decided to abandon poetry for visual art. He first intervened the pages of a copy of the book with collage; then he brought together the last fifty copies and partly covered them with plaster. With Pense Bête, Broodthaers wanted to make something “insincere”, an ambiguous piece with a text hidden in it.

To take part in the session and be sent information, please contact bulegoa@bulegoa.org. Places are limited.

Karlos Martínez B. (Bilbao, 1982) lives and works in Durango and works with objects in different plastic and visual media. His work focuses on ontological issues to examine problems related to access and mourning. He often makes use of fragile, expired or common elements that all come out of a familiar vocabulary that eludes to the experience of loss.

Maite Martínez de Arenaza (Aretxabaleta, 1971) has been dedicated to contemporary graphics since 2010 in Bilbao, as director of La Taller. La Taller recently expanded as a project with the opening of Erredakzioa, which is directed by Tania Arriaga Azkarate. Graphic techniques and printing technologies are the link between the two projects. Whereas La Taller works with the creation, edition and dissemination of graphically reproduced images, Erredakzioa is an office for the production and dissemination of texts by printing technologies that have fallen into disuse.

Summer Solstice:
The Summer Solstice is a joint celebration between Bulegoa z/b, La Taller and Espacio Trópico, three spaces in the Solokoetxe district of Bilbao.

Programme:
10:00-14:00: Readers want what… Presentation and workshop by Karlos Martínez B. (Bulegoa z/b & La Taller-Erredakzioa)
14:30-16:30: Exhibition of Readers want what…* and lunch (Bulegoa z/b)
17:00-17:30: Diva de Palo. Enriqueta Vega (La Taller-Erredakzioa)

18:30-20:30: Exhibition and fanzine and other self-published works fair (Espacio Trópico)

Venues:
Bulegoa z/b (Solokoetxe, 8) http://www.bulegoa.org/

La Taller (Zumarraga, 7) http://www.lataller.com/
Espacio Trópico (Zabalbide 17)

* The exhibition Readers want what… at Bulegoa z/b will be open from 26 - 30 June, from 18:00 to 20:00.

The project The Book to Come is developed as part of Corpus, network for performance practice. Corpus is Bulegoa z/b (Bilbao), Contemporary Art Centre (Vilnius), KW Institute for Contemporary Art (Berlin), If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution (Amsterdam), Playground (STUK Kunstencentrum & M-Museum, Leuven), and Tate Modern (London): www.corpus-network.org.
Corpus is co-funded by the Creative Europe Programme of the European Union.
 

 

 

 

 

Wednesday, 21 June, 2017 - 20:00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Screening of several films by Peter Weiss, proposed by Andreas Wutz, followed by discussion. 

Peter Weiss, the Swedish-German writer best known for his The Aesthetics of Resistance novel and the play Marat/Sade, was a great admirer of the films of Luis Buñuel. Not only did Weiss dedicate the main chapter of his film aesthetics Avant Garde Film (1956) to him; Buñuel would also have been his director of choice for a possible filming of The Aesthetics of Resistance. Weiss, though, not only wrote about film, but also made it. From 1952 to 1961, he made eighteen different films –experimental short films, documentaries and two feature films. This session of Illegal_Cinema provides a viewing of some of these.

Andreas Wutz (Munich, 1962) is an independent artist who studied painting and installation. His work has subsequently focused on photography, installation and film. His work uses strategies from the documentary, art, and experimental film and is driven by a deep interest in political and social issues and in certain historical references. From 2013 to 2015, he taught Audiovisual Art at the Instituto Europeo de Diseño, Barcelona, and the University of California, San Diego. Wutz currently lives and works in Bilbao. www.andreaswutz.net

 

 

BGE
Thursday, 1 June, 2017 - 10:00

 

 

 

 

 

 

 

 

 

 

  

Bulegoa z/b continues a series of readings coordinated by Olatz González Abrisketa and Susana Carro Ripalda around the theme “Cosmopolitics”, a term proposed by Isabel 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. 

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?

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

To take part and be sent the texts for the sessions, please contact bulegoa@bulegoa.org

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).

 

Sunday, 28 May, 2017 - 19:00

 

 

 

 

 

 

 

 

 

 

 

 

 

Screening of a part of the only interview ever made with Amadeo Bordiga. Session proposed by Mattin and Blas Etxebarria, followed by discussion.

In this interview, made just before his death, Amadeo Bordia discusses his discrepancies with Fascism. 

The session will be attended by Blas Etxebarria, who will introduce us to the figure of Bordiga and his ideas. Also present will be gite-ipes (Gizarte Ikerketarako Talde Eragilea – Instituto Promoción Estudios Sociales).

Amadeo Bordiga was an emblematic, but little-known figure in Communism. In 1921, he founded the Italian Communist Party with Antonio Gramsci, but was expelled in 1930 for defending Trotsky. Bordiga was totally opposed to parliamentary participation and was criticised for this by Lenin in his well-known essay Left-Wing Communism: An Infantile Disorder (1920). In 1926, Bordiga criticised Stalin to his face, and proposed that the Soviet Union be jointly directed by all the Communist parties in the world. In 1945, Bordiga founded the International Communist Party (Partito Comunista Internazionalista) in 1945. The small party maintained Marxist principles and opposed Stalinism, and denounced the USSR “from the left” for its economic system, which it considered to be Capitalism.

To finalise the session, we will talk about the evolution of the Bordigist movement during the years after its founder's death.


Blas Etxebarria was a member of the first group of Communist militants who disagreed with the Communist Party in Venezuela in the sixties. The group was baptised by the traditional Venezuelan left as Ocho Jóvenes Iracundos. Etxebarria came to Europe and joined the Bordigist movement, where he took part in a meeting with Bordiga himself in Milan. In 1970, he organised the Swiss French-speaking Bordigist section, and in 1978, the Venezuelan section. In 1982 he gave up his active militancy.

Mattin is an artist who works mainly with noise and improvisation. The book Noise and Capitalism (Arteleku-Audiolab 2010) was a joint project of his with Anthony Iles. In 2012, CAC Bretigny and Taumaturgia published the book Unconstituted Praxis, a compilation of many of his texts and interviews, with performance critiques written alone and in collaboration with others. He is currently studying a PhD at the Art and Technology Department, EHU/UPV, Leioa, under Josu Rekalde and Ray Brassier.

 

Monday, 8 May, 2017 - 08:00

 

 

 

 

 

 

 

 

 

 

 

 

 

Photo: Françoise Rognerud  

 

Residency 1: 8 - 12 May 2017 – Azala, espacio de creación (Lasierra)

Bulegoa z/b is setting up a new residency programme to support artistic production and knowledge at different phases and levels.

Our guest for 2017 is choreographer Olga de Soto, who is invited to develop her work A Project Made of Voices and to recuperate the sound material gathered during her research on dance history.

De Soto has been offered two periods of residency. Her first stay will take place from 8 – 12 May at Azala, a space for creation in Lasierra, a village in Álava, and will be combined with a seminar and screening organized by Azala as part of Proklama#10. The second phase of the residency will be hosted at Bulegoa z/b, Bilbao, through the autumn, to culminate in a public presentation of the project.

A Project Made of Voices came out of Olga de Soto’s last few years’ work. Based on a work first staged in 1932, the project oscillates between the analysis of bodily memory, her research on the history of dance, and the study of perceptive memory.

Beginning with a large sound archive built up over several years and bringing together numerous interviews in French, English, Spanish and German, the aim of A Project Made of Voices is to explore forms that will facilitate in-depth exploration of oral documentation through choreography, focusing on themes such as the imprint, echoes, resonance and sediment.

De Soto follows two lines of exploration in this project. Firstly, the question of meaning and sense in imagining a documentary object; and secondly, the voice as physical matter, with the aim of creating a distance from the meaning of discourses and narratives in order to play with words, language and languages, accents, tones, intonation and intention, and find ways in to the conception of an abstract object.

Olga de Soto is a choreographer and dance researcher. She was born in Valencia and lives in Brussels. She obtained a degree at the Angers National Centre for Contemporary Dance, after having studied classical and contemporary dance and music in Valencia and Madrid.

Her creative trajectory began in 1992, and since the year 2000 she has been focusing on the study of memory and the impact, use and perpetuity of the performing arts, following two different lines of research: the study of bodily memory; and the History of Dance through the memory and perception of certain works as these are held by spectators of them and also the dancers who have interpreted them, which has led to de Soto generating and building up an archive of numerous text, iconographic, oral and audiovisual documents.

De Soto’s work has been seen in around twenty countries. She is regularly invited to hold talks and workshops at different universities and to share her methodology. In 2013 she was awarded the SACD Prize by the Belgian Society of Dramatic Authors and Composers in the Performing Arts category for the trajectory of her work, particularly her research and creation around Kurt Jooss’ The Green Table.

This activity will be held in collaboration with Azala, espacio de creación.
 

 

 

 

 

 

Friday, 5 May, 2017 - 21:00

Naufragio en la costa vasca (c. 1890. Archivo Municipal de Bermeo)Shipwreck on the Basque coast (c. 1890.Bermeo Municipal Archive).

 

This session of The Book to Come is a journey down the ría, the Bilbao estuary, on the Euskal Herria

Departure and return:
21:00 - 23:00

Departs from:
Agrupación de Boteros de Portugalete
Plaza del Solar s/n
48920 – Portugalete

To take part, please contact bulegoa@bulegoa.org

I watched A Voyage on the North Sea (1973-1974) at a talk by book designer Filiep Tacq organised by Bulegoa z/b in 2013. The work, by Marcel Broodthaers, is a film which is a book and a book which is a film, and it takes a painting of a boat as its object. In 2013, I was working on BAPORAK, a work which also takes boats – portraits of boats – as its object. One of the parts of the project was going to be a book. After the talk, I contacted Filiep Tacq and we got to work. Tacq later started working on The Book to Come with the Bilbao office of art and knowledge.

BAPORAK is a work that undertakes a photographic cataloguing of the Basque tuna fleet in the Indian Ocean. Each of the photographs of the boats – miniature cities in themselves; machines equipped with cutting-edge technology and highly productive factories – follows the formal pattern of the classical naval portrait. Outlined against the backdrop of the sea and sky in a proportion that is maintained throughout the series, the sharp profile of these twenty-first century ships reveals, while simultaneously concealing, a reality we seldom see: what occurs in the oceans, the extraction and intense commercial traffic that forms the basis of the global economy.

Boats are singular objects. Their shape is reminiscent of two other figures that emerge from the sea: the island and the whale. Unlike these, the boat is a cultural form, a mobile architecture whose construction needs time and effort, and is done on land, close to the water.

This session of The Book to Come is a journey down the ría, the Bilbao estuary, on the Euskal Herria. The trip will take us to several of the old shipyards, as well as some currently functioning ones, from the long history of the area's naval industry. Some of them held the construction of tuna boats that appear in BAPORAK. The trip on board the Portugalete Shipowners' Association is conceived as a cinematographic journey.

Mikel Eskauriaza (Bilbao, 1969) is an artist who lives in Berango. He has been working with photography and the landscape genre since the nineties. He uses photography as a tool for observing, documenting and interpreting different forms of architectural and urbanistic intervention into territories and the physical, political, economic and symbolic consequences of such intervention.
www.mikeleskauriaza.com

The Book to Come is a project developed for Corpus network for performance practices. Corpus is made up of Bulegoa z/b, Bilbao; Contemporary Art Centre,Vilnius; KW Institute for Contemporary Art, Berlin; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam; Playground (STUK Kunstencentrum & M-Museum, Louvain), and Tate Modern, London.

Corpus is co-funded by the European Union Creative Europe programme.

IMAGE:
Shipwreck on the Basque coast (c. 1890.Bermeo Municipal Archive).

 

 

 

 

BGE
Thursday, 4 May, 2017 - 10:00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bulegoa z/b continues a series of readings coordinated by Olatz González Abrisketa and Susana Carro Ripalda around the theme “Cosmopolitics”, a term proposed by Isabel 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.

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?

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

NEXT SESSIONS AND TEXTS:

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

To take part and be sent the texts for the sessions, please contact bulegoa@bulegoa.org

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).

 

BGE
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.