The Oteiza Museum, in conjunction with Kutxa, has announced the fourth call for applications
for a grant awarded to foster and implement an educational project at the Alzuza Museum.
The central role of educational activity as one of the core functions of the Oteiza Museum is behind the call for applications for this latest grant. The aim is to encourage a specific sector of the general public (teachers, children, young people, adults, the disabled, etc.) to discover the work and thought of Jorge Oteiza based on an educational project designed to be totally or partially implemented at the Museum itself.
The Oteiza Museum-Kutxa Grant will last for twelve months and is worth €6,000 in total: €3,000 to cover the design and conception of the project and €3,000 for its implementation at the Museum. The deadline for submitting applications is 16 November 2012 and special consideration will be given to projects that involve working with the documentary and artistic collections of the Oteiza Museum.
(6 – 12 years)
The workshop takes as its starting point the piece Mendiburu entitled “Cage for Free Birds” and will combine concepts of sculpture and architecture. The children participating in the workshop will design their own personal cages out of materials taken
from nature, such as wood, leaves and flowers. The workshop lasts for two days: Saturday 29 September, from 11 am – 1 pm and Sunday 30 September, from 11 am – 1 pm. Enrolment fee: €10
The museum is organising a number of guided tours of the exhibition. The first
will be held at 12 o’clock on Saturday 16 June and will be given by the exhibition curator, Juan Pablo Huércanos. Tours will also be held at 12:00 on 29 September.
The Jorge Oteiza Museum Foundation and Obra Social de Kutxa, through the Kutxa Foundation, today signed a partnership agreement to promote 6 new projects scheduled by the Alzuza Centre for 2012. These include the forthcoming exhibition of the artist Remigio Mendiburu, the publishing of the Catalogue Raisonné of the sculptures of Jorge Oteiza, and the latest call
for application for the Education Grant.
This agreement, which was signed today by Ana Zabalegui, the Secretary to the Oteiza Foundation Board and Director of Culture of the Navarra Government, and by Carlos Ruiz, Director of Obra Social de Kutxa, establishes that the Kutxa Foundation will give 35,000 euros to the Oteiza Foundation for the projects planned for 2012.
The signing of this agreement further consolidates the successful partnership between both institutions, which dates back to 2009 when the first agreement was signed that established the involvement of Obra Social de Kutxa in the Oteiza Museum activities for three years.
The new Agreement includes projects of the ilk of the “Remigio Mendiburu, the Construction of Form” exhibition, which will be held at the Oteiza Museum between 14 June and 7 October, and which showcases the work of one of the essential authors in the renewal of the modern sculpture of the second half of the 20th century, the author of a unique sculpture language and who was part of the Gaur Group, along with Oteiza and other artists.
The second action included in this agreement is the publication of the Catalogue Raisonné of the work of Jorge Oteiza, produced by Txomin
Badiola and which will be released at the end of the year. This new agreement also enables the IV call for applications for the Jorge Oteiza-Kutxa Grant to fund an educational project to be developed within the Museum itself.
As far as publications concerned, the agreement includes, first of all, the critical edition of The Law of Changes, by Jorge Oteiza, a title that is currently out of print. The edition includes the critical study by Fernando Golvano, Art Critic, Professor of Aesthetics and Theory of Art at the University of the Basque Country (UPV-EHU), co-director of the Kritikara research team.
Secondly, Cuando veo esto, pienso esto (When I see this, I think this) will be published, a book that analyses the relationship between mathematics, geometry and the work of Jorge Oteiza, by Capi Corrales Rodrigañez, a lecturer at the Algebra Department of the Mathematics Faculty at the Complutense University of Madrid.
Finally, this partnership also includes publishing Monumento a Felipe IV. Historia de un concurso (Monument to Felipe IV. History of a Competition), which describes the participation of Oteiza in the competition held in San Sebastián in 1949 to produce a memorial to Philip IV of Spain, that the artist won but he would never see his work produced. This publication is part of the “Cuadernos del Museo Oteiza” collection and its author is Luis Azanza, lecturer in History of Art at the University of Navarra.
New summer timetable
The Oteiza Museum has also announced its new summer timetable, between 1 July and 31 August, a period during which the Museum will remain open from 11.00 to 19.00 Tuesday to Saturday, from 11.00 to 15.00 on Sundays and bank holidays.
The Oteiza Museum has published two new research papers that analyse Jorge Oteiza’s aesthetic and existential thinking from two complementary viewpoints. The first, Oteiza y Unamuno; dos tragedias epigonales de la modernidad, by Juan Arana Cobos, analyses the philosopher’s influence on the images of Oteiza, while Oteiza y los nuevos paradigmas científicos, by Ignacio Sánchez Simón, investigates the presence of concepts associated with the world of science and mathematics in the configuration of his aesthetics.
Both papers, which have been published with the collaboration of Kutxa Social, are the result of the research projects awarded Itziar Carreño grants by Fundación Oteiza in previous years and which have now been published in two volumes, included in the Centauro Collection that was opened recently with the work titled Crónlech vasco y zorro japonés. De Jorge Oteiza a Akira Kurosawa (Basque Cromlech and Japanese Fox. From Jorge Oteiza to Akira Kurosawa), by Juan Antonio Urbeltz and Mikel Urbeltz Navarro
The first of these two volumes, Oteiza y Unamuno: dos tragedias epigonales de la Modernidad, analyses the Bilbao author’s notable influence on the configuration of Oteiza’s thinking and his identification in Unamuno’s religious conflict. This volume analyses Unamuno’s presence as the fundamental philosopher who accompanied Oteiza throughout his artistic and intellectual investigation process and from whom he inherits his tragic view of life. According to Arana Cobos, “Oteiza quotes and comments to the philosopher in depth in fundamental works such as Interpretación estética de la estatuaria megalítica americana (Aesthetic interpretation of American megalithic statues), Quousque Tandem…! and Ejercicios espirituales en un túnel (Spiritual exercises in a tunnel) and he is a constant reference in purely Unamuno-related themes and his persistent dialogue or struggle with his ideas. He dedicated a late bust to Unamuno and many unpublished writings and notes.” Both authors also share “the need for creating a reality through fiction to renew cultural situations whose stagnation is evident, as is the case of the crisis of modern thinking.”
This book looks at the problems affecting the scientific concepts used by Oteiza to illustrate his theses. The range of themes examined is extensive, but also includes specific, measured themes associated with the most rational and abstract of disciplines: mathematics. And said discipline includes the most important and most hidden link between the process of geometrical abstraction of the 19th century and that of Oteiza’s work: the crisis of the concept of dimension brought about by Georg Cantor’s discovery in 1877. Accordingly, the main thesis of this study lies in the association between said discovery and Oteiza’s need for “breaking the connection between Time and Space” at the end of his sculptural period, as well as the privileged use of section in comparison with projection for achieving said purpose, applying all his sculptural work to the concept of wall as a “cut that summarises a hyperspace”.
The Oteiza Museum has extended the exhibition dates of Pedro Osés’s intervention at the Alzuza centre, as part of the Interpretations exhibition cycle. The intervention called “The Cromlech, Sacred Place” can therefore be seen at the Museum until Sunday 29 April.
Jorge Oteiza’s different analysis and interpretations of prehistoric artistic expressions and his study of the Pyrenean Cromlech, as an expression of a “spiritual” space, are the starting point of this intervention. Pedro Osés interprets Oteiza’s reflections in an ephemeral project, produced directly on one of the walls of the Oteiza Musuem and which creates an unusual collage, made up of texts, drawings and other pictorial elements to weave a plastic and narrative fabric.
See video here.
The Jorge Oteiza Museum Foundation has chosen the current Director of the Oteiza Chair, Francisco Calvo Serraller, as its new Chairman, after accepting the resignation of his predecessor, Pedro Manterola, who held the post from June 2009 and who proposed Calvo as his successor.
This agreement was adopted during the meeting of the Foundation Board held on Friday 23 March 2012, according to Ana Zabalegui, Secretary of the Oteiza Foundation and the Government of Navarra’s General Director of Culture.
The Board unanimously thanks Pedro Manterola, who had previously been the director of the Oteiza Museum, for his work as Chairman, as well as for his endeavours and input to showcase the figure of Jorge Oteiza and turn the museum into a benchmark in the art and cultural world.
Francisco Calvo Serraller (Madrid, 1948) was appointed as Director of the Oteiza Chair at the Public University of Navarra in 2008. He has a PhD in Philosophy and Letters from the Complutense University of Madrid, where he has been a full professor of History of Contemporary Art since 1989. Calvo Serraller is also a permanent academician at the San Fernando Royal Academy of Fine Arts and was the Director of the Prado Museum between 1993 and 1994. In addition to his teaching and research work, he has also worked as an art critic for different papers and journals, including the El País newspaper. He has directed and spoken at many international courses, congresses and seminars on art. He has been a member of the Scientific Committee of major exhibitions and numerous international events and has been the curator of numerous exhibitions at the main museums and art centres of Europe and America.
His research has focused on studying the sources of the history of contemporary and modern art, on the artistic historiography and methodology in the contemporary period and on the history of contemporary art. His numerous publications include España, medio siglo de arte de vanguardia (“Spain, Half a Century of Avant-garde Art “,1985), El arte visto por los artistas (“Art Seen by Artists”, 1987), Vanguardia y tradición en el arte español contemporáneo (“Avant-garde and Tradition in Contemporary Spanish Art”, 1989),
La novela del artista (“The Artist’s Novel”, 1991), Enciclopedia del arte español contemporáneo (“Encyclopaedia of Contemporary Spanish Art”, 1992), Breve historia del Museo del Prado (“Short History of the Prado Museum”, 1994), La imagen romantic de España. Arte y arquitectura del siglo XIX (“The Romantic Image of Spain, Art and Architecture of the 20th Century”, 1995), El Greco (“Greco”, 1995), Las Meninas de Velázquez (“The Meninas by Velázquez”, 1996), Columnario. Reflexiones de un critic de arte (“Column. Reflections of an Art Critic”, 1998), Libertad de exposición. Una historia del arte diferente (“Freedom of Expression. A Different History of Art”, 2000). El arte contemporáneo (“Contemporary Art”, 2001) or Los géneros de la pintura (“The Genres of Painting”, 2005).