Macle, ghost, bismuth, vicar”, new exhibition project

 

  • The Oteiza Museum presents the exhibition project Macla, mamua, bismuto, vicario (Macle, ghost, bismuth, vicar) by the artists Karlos Martínez B. and Javier Arbizu

 

  • It is an intervention made expressly for the Oteiza Museum to première the Hazitegia programme

 

Exhibition and publication: Macla, mamua, bismuto, vicario.

Artists: Karlos Martínez B., Javier Arbizu.

An Oteiza Museum production involving the Contemporary Art Centre of Huarte and the collaboration of Fundación “la Caixa”, Fundación Caja Navarra, Egüés Town Council and Caniche Editorial.

Oteiza Museum. 27 July – 30 November 2018

 

The Oteiza Museum presents the exhibition project Macla, mamua, bismuto, vicario, an exhibition made expressly and based on Oteiza’s work by the artists Karlos Martínez B. and Javier Arbizu for the Alzuza Centre, constituting the first intervention on the Hazitegia (seedbed) programme.

This first intervention has been developed by the Oteiza Museum and the Contemporary Art Centre of Huarte and comes from the desire to combine the production and exhibition areas at both centres to generate new scenarios for reflection on Jorge Oteiza’s work from the viewpoint of contemporary creation.

The project began with the research and production residency both artists completed last year at the Huarte Centre. The residency allowed the authors to define a project that materialised in an initial intervention at the famous Casa Huarte in Madrid, a building dating from 1966 by the architects Corrales and Molezún. The project was developed in a single day on 17 February 2018 and produced by Caniche Editorial.

 Macla, mamua, bismuto, vicario now continues with the exhibition hosted by the Oteiza Museum between 27 July and 30 November 2018. The project involves the collaboration of Fundación “la Caixa” and Fundación Caja Navarra, as part of the Innova Cultural programme, and the Town Council of Egüés.

The starting point of this project is the idea of macla (double), associated with the series of works so titled by Oteiza, based on the merger or encounter of two or more volumes and activated by the relationship between their parts. From that moment, this intervention proposes a particular way of associating sculpture with object through subtle interventions that interfere with the very characteristics of materials and objects to generate a new repertoire of meanings that create an unrestricted bond with the Museum space, the constructive modes of Oteiza’s work and the consideration of sculpture as an ever-changing process.

The presence of bismuth, a mineral that crystallizes in concentric, geometric forms, is one of the main lines of the proposal, which works on the idea of the sutured body and the question of the double as the essence of a ‘permanently unsatisfied’ sculpture, as defined by Jorge Oteiza.

The project is not conceived as a mere exhibition of works, since the different pieces (a total of 17) make up one single intervention, shown in different areas of the Oteiza Museum, including the building exterior. Each one is conceived as an activating element of the space in the centre and a catalyst of sculpture through the use of contemporary materials and compositional processes.

The intervention is completed with a publication under the same title that includes a complete visual tour of the two interventions and is complemented by a text by Rosa Lleó, curator and director of the Green Parrot Platform.