Gipuzkoako Diputazioa - KULTURA
Gipuzkoa is located in a multicultural environment, with dance, cinema, literature, painting... culture. The task of the Department of Culture is the promotion and cultural dissemination of all these cultural experiences, as well as the protection and promotion of cultural heritage, museums and archives.
PROJECTS IN WHICH I PARTICIPATE
TRANSBITA
DIZIPLINARTEKO PROPOSAMEN PARTE-HARTZAILE BATEKIN BIDAIATZEN DUEN GAILU MUGIKORRA
2014an, Bitamine Faktoriak 1978ko karabana bat birdiseinatu eta egokitu zuen, eta langune mugikor bihurtu. Edonora doala ere, egoitza gisa erabiltzen da, eta artisten eta jendartearen arteko topagune aparta da. Hartzaile berriak lortzeko, diziplina desberdinetako artistak konektatzeko eta kultura arloan forma berriekin esperimentatzeko tresna da Transbita.
Arte eta kultura garaikidea ikus-entzule talde zabalago bati iritsi behar zaizkio, jendartearengan jakin-mina, interesa eta pentsamendu kritikoa pizteko. Horregatik, ezohiko tokietara hurbiltzen dugu esperientzia hori; bai itsasoaren ondora, bai museo baten sarrerara edo plaza batera, beti topaketa bilatuta. Plazara jalgi denetik, Transbita 10 alditan baino gehiagotan abiatu da, diziplina anitzeko bere proposamen parte-hartzailea soinean eramanda, besteak beste: zuzeneko musika, dantza garaikidea, lan audiobisualak, argi-laborategia, arte plastikoa eta emanaldiak. Azken irtenaldietan, topagune gisa balio izan du, bai eta hainbat programaren baitan proposamen artistikoak biltzeko gune gisa ere; besteak beste, Kontenporanea, A Town That Makes You Happy eta Ribera.
/ TRANSBITA IRUN
Aurkezpena. Ácido C
/ TRANSBITA DONOSTIA
Bidaia eta inprobisazioaren kontzeptuen inguruko diziplina anitzeko ekitaldia, Boulevardean
Artista bidaideak: Edorta Subijana, Izaskun Álvarez Gainza, Lurra, Laurentx Etxemendi, Helena Gołąb, GKo Gallery, NiMu, Arteklab eta Izaskun Lapaza
/ TRANSBITA UDABERRIPARTY
Bitamine Faktoriaren 4. urteurrenaren ospakizuna
Bar L'atelier
/ TRANSBITA HONDARRIBIA
Artista bidaideak: Ainara LeGardon, Ainhoa Izagirre, NiMu
/ TRANSBITA HENDAIA
Artista bidaideak: Sky Beats, suartez Lighting Commons
/ TRANSBITA COMÈTE
Artista bidaideak: Amorante, Bitamine Faktoria, NiMú, Sofie Dubs
Oiasso Erromatar Museoa
/ TRANSBITA FICAB
Artista bidaideak: Amaia Elizaran, Bitamine Faktoria, Naica
Oiasso Erromatar Museoa
/ TRANSBITA OLATU TALKA
Artista bidaideak: Bitamine Faktoria, Gopuzkingz, Javier Baliache, Jon Jauregi, Orchiday
/ TRANSBITA LARREAUNDI
Artista bidaideak: Lemont Twist, suartez Lighting Commons
KBK #1
Mugakide mugaz gaindiko lankidetzarako sarea 2015ean sortu zen Bidasoaldeko arte- eta kultura-egituraren komunikazioa eta sustapena indartzeko xedearekin,Bitamine Faktoria sormen eta kultur ekoizpen lantegia (Irun) eta NEKaTOENEa Résidence d’artistes (Hendaia) eragileek bultzatuta.
Azken urtean zehar mugaz gaindiko sinergiak sustatzen jarraitzeaz gain, asmo handiko erronka bati heldu diogu: argitalpen bat gauzatzea, muga bera eta honek adierazten duen oro hizpide dituena. Proiektu honi ekiteko, bi aldeetako kultura eta arte esparruko profesionalek osatutako lantalde bat eratu da.
Egun, zoritxarrez gizarte-politika askok atzerakada prozesu bat pairatu dute, edonon mugak sortuz. Muga hauek baldintzatzen gaituzte, baita baztertu eta banandu ere. Hastapenetik gure misioa argi eta garbi mugaz gaindikoa eta kulturanitza izan da, elkarlanerako eta sarean lan egiteko joera izan duelarik.
Guztiok gara Kontrabandistak.
info: www.kbk.land
A TOWN THAT MAKES YOU HAPPY #1
ARTE GARAIKIDEA EREMU PUBLIKOAN
Bitamine Faktorian forma hartutako ekimena da A Town That Makes You Happy, eta esku-hartze, ekintza eta lantegi parte-hartzaileei esker eremu publikoan eragin positiboa sortzea du xede. Jakin dakigunez gizartea eraldatzeko tresna boteretsua dela artea, hiri-paisaia aldatu egin nahi dugu, inguratzen gaituena edertzeko. Adibidez, gris-kolorea besterik ez zegoen tokietan koloretako arrastoa uztea, altxatutako horma zatietan mapak kartografiatzea, edo iragarki oldarkorrez jositako paneletan mezu adeitsuak islatzea. Aipatutako adibideak lan iragankorrak diren arren, pertsonen eta tokien memorian diraute luzaroan. Proiektu honek artea ohiko tokietatik at eramaten du, jendarteak ahaztuta dituen edo haientzat ikusezinak diren tokiak hautatuta, tokiotan nekez antolatzen baitira jarduera edo ekitaldi ikusgarriak.
A Town That Makes You Happy ekitaldiaren lehenengo edizioak arte garaikidearen inguruko hainbat esku-hartze proposatu zituen gure egoitzaren auzoa den Larreaundin. Ekimen horretan, eskualdeko artisten, bizilagunen, denden eta enpresen iritziak bildu ziren, auzo erakargarriago eta lagunkoiago bat diseinatzeko.
2018ko urriaren 6an (larunbata) gauzatutako proiektua Loiolako Iñigo kalean garatu zen; hots, Bitamine Faktoriaren egoitzaren kalean. A Town That Makes You Happy proiektuaren helburua eremu publikoan eta pertsonen umorean eragin positiboa sorraraztea da, tokiko, Gipuzkoako eta Euskadiko emakume sortzaile talde batek auzorako pentsatutako esku-hartze, ekintza eta lantegi parte-hartzaileen bidez. Eguna girotzeko, herri-bazkari bat antolatu zen, bazkalondo eta guzti, bai eta Sara Mansilla eta Moon djs musikariek eskainitako zuzeneko saio bat ere.
ARTISTA GONBIDATUAK
Garikoitz C. Murua, Igor Rezola Iztueta, María Rios, Moon Djs, Nerea Lekuona, Pili Aguado, Ramon Zabalegi, Sara Mansilla, Susana Blasco
ERAKUNDE HAUEN BABESAREKIN
Kutxa Fundazioa / Irungo udala / Eusko Jaurlaritza / Gipuzkoako Foru Aldundia / Rehabite
LAGUNTZAILEAK
Cepinsa / Ondarribi Grafikagintza / San Miguel / Atrezzo / Restaurante Tetería Kus Kus
ESKER ONA
Artista, bizilagun, dendari, babesle eta laguntzaile guztiei auzo zoriontsuago bat irudikatzeagatik
A TOWN THAT MAKES YOU HAPPY #2
ARTE GARAIKIDEA EREMU PUBLIKOAN
Bitamine Faktorian forma hartutako ekimena da A Town That Makes You Happy, eta esku-hartze, ekintza eta lantegi parte-hartzaileei esker eremu publikoan eragin positiboa sortzea du xede. Jakin dakigunez gizartea eraldatzeko tresna boteretsua dela artea, hiri-paisaia aldatu egin nahi dugu, inguratzen gaituena edertzeko. Adibidez, gris-kolorea besterik ez zegoen tokietan koloretako arrastoa uztea, altxatutako horma zatietan mapak kartografiatzea, edo iragarki oldarkorrez jositako paneletan mezu adeitsuak islatzea. Aipatutako adibideak lan iragankorrak diren arren, pertsonen eta tokien memorian diraute luzaroan. Proiektu honek artea ohiko tokietatik at eramaten du, jendarteak ahaztuta dituen edo haientzat ikusezinak diren tokiak hautatuta, tokiotan nekez antolatzen baitira jarduera edo ekitaldi ikusgarriak.
A Town That Makes You Happy proiektuaren bigarren edizioak muina mantendu egin zuen (eremu publikoan parte hartzea, alegia); formatua, berriz, aldatu. Oraingoan, enpresa handien kanpainetarako erabili ohi diren hainbat publizitate-eremu okupatzean zetzan proiektua, modu iragankorrean haietan esku hartzeko, artelanen ohol izan zitezen. Hausnarketarako gonbidapen diren eta nahasmena/harridura sorrarazten duten lanen bidez, komunikazioaren eta kontsumoaren inguruko kontzientziazioa suspertu nahi zen proiektuarekin.
Abenduaren lehen bi asteetan zehar, lanak eremu publikoan jarri ziren ikusgai, artearekin bateragarriak izan ohi ez diren euskarri eta tokietan. Programazioa osatzeko, emakume artista gonbidatuetako laurekin eta Transbitarekin topaketak antolatu ziren. Azken hori Bitamine Faktoriak sortutako karabana ibiltaria da, zeinak hiriko auzo eta kaleetan barrena Estíbaliz Sádabak egindako ibilbidearen lan audiobisuala erakusten baituen.
ARTISTA GONBIDATUAK
Anne Laure Boyer, Colectivo Redil De Arte Político (Iñaki Larrimbe y Rubén Díaz De Corcuera), Estíbaliz Sádaba, Marina Vargas, Zuhar Iruretagoiena
ERAKUNDE HAUEN BABESAREKIN
Irungo udala / Eusko Jaurlaritza / Gipuzkoako Foru Aldundia
LAGUNTZAILEAK
Auzo elkarteak Landetxa, Santiago, Urdanibia / Gorka Lomeña SLU / Ficoba
KBK #2
KBK
Erredakzio-taldea
Juan Aizpitarte - Oier Gil Zapirain - François Loustau (La Maison) - Kunsthal - Jorge Marín - Alban Morlot (Spacejunk) - Nausica Sánchez (Ezmugak) - Natacha Sansoz
Bazkidea Nafarroan
Huarte Arte Garaikideko Zentroa - Centro de Arte Contemporáneo
Erakunde hauen laguntzarekin
Eusko Jaurlaritza - Gipuzkoako Foru Aldundia - Kutxa Fundazioa - Akitania Berria-Euskadi-Nafarroa euroeskualdea
Gobierno Vasco - Diputación Foral de Gipuzkoa - Kutxa Fundazioa - Eurorregión Nueva Aquitania-Euskadi-Navarra
Gouvernement basque - Députation Forale du Guipuscoa - Eurorégion Nouvelle Aquitaine-Euskadi-Navarre
Esker ona
Gaueko laneko bidaide mugalariak
Compañeros/as de viaje en el gaueko lana
LUR AZPIKO FORMAKUNTZA
Autogestionatutako proiektuetara egokitutako formakuntza bat
Bitamine Faktorian bertatik bertara ezagutzen ditugu gaur egungo kultura esparruko testuinguru eta agertoki desberdinak; izan ere, egunero egiten diegu aurre proiektu independente bat kudeatzeak dakartzan oztopo eta zailtasunei, kultura bezalako sektore prekarizatu batean. Aspaldidanik, sektoreko hainbat eragilek eta profesionalek jarduera mota horren know how-a ezagutzeko interesa dutela ikusi dugu. Beraz, horrelako prestakuntza eskaintzea aukera bat da ezagutzak partekatu, antzeko kezkak dituzten pertsonen arteko harremanak sortu eta ekosistema bera indartzen laguntzeko.
HELBURUAK
Alde batetik, ohiko formakuntzei prestakuntza osagarria eskaintzea, enpresa kulturalaren ohiko ereduan sartzen ez diren proiektu autogestionatuetara bideratuta, hau da, beste errealitate, erronka eta zailtasun batzuei aurre egin behar dieten egitasmoetara.
Bestetik, kudeaketa-, komunikazio- eta diseinu-tresnak eskaintzea, proiektuak aberasteko eta beste kultura- eta arte-egitura batzuen hazkunde-aukerak areagotzeko, bai eta kultura- eta sormen-arloan interesa duten pertsonen prestakuntza bultzatzeko ere.
Programa osoak hiru atal osagarri ditu:
//// KULTURA-KUDEAKETA
Bitamine Faktoria proiektu independentea da, eta, halabeharrez, hazten eta kultura-errealitate eta politika desberdinetara egokitzen joan da. Atal honek gai hauek biltzen ditu: proiektu independenteen sorrera eta kudeaketa, jarduera mota horri egokitutako finantzaketa- eta administrazio-moduak, ereduak, profilak eta estrategiak, ebaluazioa, lankidetza eta sareak.
//// DISEINUA ETA IRUDIA PROIEKTU KULTURALETAN
Laburrean, diseinu-tresnak proiektu kultural eta artistikoetan, hau da, marka, branding-a eta ikus-identitatea. Gure proiektuei ematen diegun diseinuak eta irudiak gainerakoetatik bereizten eta kokatzen dituzte. Atal honetan diseinuaren oinarriak lantzen dira, koloreak eta tipografiak modu arrazoituan konbinatuz, proiektuak edo zerbitzuak sustatzeko irudi eta konposizio erakargarriak sortze aldera; bai euskarri inprimatuetan (esku-orriak, txartelak, kartelak), bai bitarteko digitaletan (webgunea, bloga, mailinga, sare sozialak).
//// KOMUNIKAZIO KULTURALA
Kultura-erakundeetan komunikazioa tresna estrategikoa da. Atal honetan, kultura- eta arte-arloetako komunikazioaren berezitasunak lantzen dira, kultura-edukiak ahalik eta ondoen komunikatzeko jardunbide egokiak aztertzen dira; bai eta kultura-produktuak eta -zerbitzuak merkaturatzeko tresnak eta estrategiak, komunikazio-plan baten diseinua eta komunikabideekiko harremana ere.
DATAK
2021eko martxoaren 15etik 18ra
15:00etatik 19:00etara
Partaide-kopurua: 10 lagun
NON
Tabakalera | Kultura Garaikidearen Nazioarteko Zentroa
Andre zigarrogileen plaza, 1
20012 Donostia
HIZKUNTZA
Gaztelania
IZEN-EMATEA
Doakoa, lekuak bete arte
Lekuak agortuta. Itxaron-zerrenda zabalik
Izena emateko orria
EPEMUGA
Martxoaren 12 arte
+INFO
faktoria@bitamine.net | jaitsi informazioa
Emotional Atlas of Bidasoa
Atlas: A collection of maps, mainly geographical, presented in book or notebook form.
This project arises as a continuation of the research carried out thanks to the 2019 Ribera Grant awarded by Irun City Council, which was entitled "Emotional Cartography of Bidasoa".
The main idea revolves around the decision to carry out a practical mediation exercise on the contents researched. Not only to highlight different characters, events, hobbies, etc., but also to work on it in a transversal way with different artistic disciplines.
We are sure that research of these characteristics that deals with interculturality, in a border context at the moment we are living in, provides more plural results in the revision of many aspects of the historical memory of this territory. "In a time of globalisation, the most revealing object of study, the most questioning of ethnocentric or disciplinary pseudo-certainties is interculturality" (Canclini, 2006: 101). Interculturality is the tool with which we have to work for integration. Dialogue, in order to understand and accept our diversity as cultural richness and intangible world heritage, is the basis of our coexistence.
We have called it an atlas, because it presents a series of educational booklets combined with the work of the illustrator Elena Odriozola, highlighting relevant social aspects. Ten small notebooks that tell stories of a geographical space written in an elegant way by María José Noain Maura and with a language that is accessible to all kinds of audiences.
Texts: Maria José Noain Maura
Coordination and layout: Helga Massetani Piemonte
Ilustrations: Elena Odriozola
Traduction: Joxan Elosegi
LG D 00104-2022
2022
Bibliography
Web of Scientific Journal - Ausart 10
Massetani Piemonte, Helga. 2022. «Emotional Atlas of Bidasoa». AusArt 10 (2)
Research project
Artistic residencies / New approaches
The initiative to review the programmes of aid for creation organised by Bitamine Faktoria over the last 10 years arose shortly after the period of pandemics, confinements and limitations on many of the freedoms we had enjoyed until then.
It is true that the new present had changed as a consequence of the events. The economy had been affected, many families had lost loved ones, the routine and changing restrictions we faced on a daily basis made us feel lost and hopeless. But also, people had changed. Many of us have taken advantage of this hiatus to slow down, reflect, analyse, blame ourselves, accept that sometimes we lose and even take away burdensome duties. To question our objectives and look for answers.
Continuing with the model we had proposed until then in our structure was irresponsible. And the answers would not appear on their own, they had to be sought.
Within this framework, a long task was planned, with concrete phases, articulated with each other and consecutive in time.
A research project was launched in November 2021 to find out the state of the artistic and cultural sector in the Basque Country, and it was carried out throughout 2022.
Many people have been involved in the work process, which has been an invaluable source of knowledge, and it is thanks to all of them that we can now share these results, which I sincerely hope will be useful and fruitful for the sector.
Download the research
Design: Estudio Moriskette
KULTURBOX
The way of consuming culture has changed considerably in recent times. In addition to existing trends towards digitalisation, there has been the impact of the coronavirus, which has had a very negative impact on the development of in-person cultural activity, but which has allowed the development of new ways of consuming art and culture, online and choosing the content that most interests us, to enjoy it when, where and how we want.
This change of parameters logically affects everything to do with artistic creation, art consumption and the dissemination of cultural heritage. Moreover, we must remember the importance of the heritage value chain and its six interconnected steps: identification, documentation, valuation, conservation, dissemination and reflection.
Combining both concepts, the new modes of artistic-cultural consumption and the importance of the heritage value chain, this project is focused on the dissemination of art and heritage combined with a careful aesthetic from the keys of design and contemporary art. This is how KulturBox was born, a series of artistic boxes to approach culture in an accessible, inclusive and comfortable way, offering a new quality format that incorporates playfulness and allows you to enjoy culture à la carte.
KulturBox is designed for anyone who shows an interest in culture and art, regardless of their education or knowledge of it. Restless people, concerned about the knowledge of their environment and who are sensitive to the heritage that surrounds them, eager to know and learn, but also to look for quality leisure activities.
The KulturBox project is promoted in a co-creation format with María José Noain Maura, from Los Viajes de Aspasia.
Emotional Atlas of Bidasoa - exhibition
2023.02.03 / 2023.06.04
OIASSO MUSEOA
An exhibition at the Oiasso Roman Museum (Irun) curated and art directed by Helga Massetani Piemonte and María José Noain Maura.
"It is not possible to bathe twice in the same river". This famous phrase, perhaps erroneously attributed to the Greek philosopher Heraclitus, is perfect for reflecting on the Bidasoa. Its character as a border river, since ancient times, has allowed it to see the most varied historical events, to hear different languages on its banks, to host great celebrations and great tragedies, to become a mute witness to the passing of time. The river Bidasoa is the protagonist of this exhibition and comes to life through the voices of its inhabitants.
In 2019, Bitamine Faktoria (Helga Massetani Piemonte) and Los Viajes de Aspasia (María José Noain Maura) received the Ribera grant from Irun City Council to develop a project that at the time was called "Cartografía Emocional del Bidasoa" (Emotional Cartography of the Bidasoa). Previous work was carried out on the history of artistic cartography which was followed by anthropological research, in which, through surveys and group interviews, the emotional perception that the inhabitants of its banks have of the Bidasoa was collected. In this way, a conceptual and artistic map of the river's memory was drawn up.
The project was continued in 2021, taking on a new dimension that transformed it into "Atlas Emocional del Bidasoa". It was then the Olatuak grant from the Provincial Council of Gipuzkoa and the Creation Aid from Irun Town Council that facilitated the transformation of the research into an artist's book: an edition of ten literary and historical notebooks, illustrated by Elena Odriozola. Ten of the themes most highlighted by the citizens during the research phase were chosen and are now transformed into ten modules that make up this exhibition. Each module talks about an aspect, but not only for information purposes, but also as an artistic installation that aims to evoke memories, stir emotions, rescue from oblivion what we were, are and want to be. They can be visited in the order that each person chooses: the important thing is to move between them, like the waters of the river. After all, as the Greek philosopher himself said, everything flows, nothing remains.
KREDITUAK / CRÉDITOS
Komisariotza / Comisariado: Helga Massetani Piemonte, María José Noain Maura
Ilustrazioak / Ilustraciones: Elena Odriozola
Ekoizpena / Producción: Ander Garmendia
Eskerrak / Agradecimientos
Gipuzkoako Foru Aldundia / Diputación Foral de Gipuzkoa
Gordailua. Gipuzkoako Ondare Bildumen Zentroa / Centro de Colecciones Patrimoniales de Gipuzkoa.
Hondarribiko Udala / Ayuntamiento de Hondarribia
Irungo Udal Artxiboa / Archivo Municipal de Irun
Kutxa Fundazioa
San Telmo Museoa
Irungo Memoria Historikoaren Bulegoa /Oficina Memoria Histórica de Irun
José Luis Noain Cendoya
Kutxateka
"Nicolás Guerendiain" Irungo Errepublikarrak / Asociación Republicana Irunesa “Nicolás Guerendiain”
Eta ikerketa-fasean parte hartu zuten guztiei. / A todas las personas que participaron en la fase de investigación.
SHOP ONLINE
You can now find all Bitamine publications and projects in our new online shop:
shop.bitamine.net
LEHENSUGEA
MATRIZ SECA
Jose Iglesias Gª-Arenal, Saray Pérez Castilla, Miriam Rodríguez Morán
Lehensugea reflects, through a video-essay, on the use of nature and the frontier in the symbolic production of European nation-states. The record of a trip to the top of Larrun, on the border between Spain and France, is a gateway to the crossing between local myths and the fantasy of European colonial structures.
The La Rhune train was built in 1924 to access the summit from the Basque-French town of Sara. Mainly dedicated to tourism, it is a historic rack railway, unique in the Basque Country. With this infrastructure, access was made to a space considered mythical, inhabited by witches and by lehensugea , a seven-headed serpent that spat out the precious metals that were found inside the mountain, forming fiery rivers that devastated the forests of the area. . The train winds its way up like a mythical-modern creature that reinvents the mountain as a demarcation of the border and monumental its nature and landscape from the symbolic extractivism that fuels the mythical construction of the nation.
Before embarking on the physical journey, the research will start from a triple approach to the mountain and the border through three "texts", based on The three ecologies of the psychoanalyst and philosopher Félix Guattari to reflect on the relationships that mark the I with the self, the self with the other, and the self with nature.
/
*Matriz Seca is a line of work activated by Jose Iglesias Gª-Arenal, Saray Pérez Castilla and Miriam Rodríguez Morán to work on the structures that maintain a territorial organization based on processes of material and symbolic extraction.
Jose Iglesias Gª-Arenal has a master's degree in Curation from the Whitechapel Gallery and London Metropolitan University and another in Art Praxis from the Dutch Art Institute. He has worked as a researcher at the Whitechapel Gallery and as a coordinator of independent research projects. He has curated meetings and exhibitions in Spain, Western Sahara and Argentina. He runs the curatorial platform MAL.
Saray Pérez Castilla (Burgos / Bilbao, 1987) is an artist and researcher. She has been awarded internationally with different scholarships, awards, residencies and exhibitions, among which are: Archives, necessary records , Incontro di artisti in Salento (Italy), ERTIBIL, Provincia 53 (CDAN-MUSAC), Fundación BilbaoArte, BARRIEK, Linz IMPORT project (Austria), and Invisible Landscapes (Sahrawi refugee camps, Algeria). In 2019 she began an exploration as a co-curator, with the project What do artists think about? South-south-north dialogues to go around the world between the Basque Country and Ecuador .
Miriam Rodríguez (Abadiño, 1983) has a doctorate from the University of Oviedo, specialized in Aesthetics and Theory of Arts (DEA 2010) and Social Studies of Science and Technology (master's degree from the University of Oviedo and the University of Salamanca, 2009 ), and graduated in Philosophy from that university (2007). She currently works in the cultural and artistic sector developing projects, exhibitions, training and research. She has given multiple lectures and has several publications.
CAYOLAR
Cayolar (mendiko artzain-borda, xibereraz) "bizitzearen" gaiari buruzko ikerketa eta egoitza ibiltaria da. Pirinioetako katearen bi aldeetan, beraz, mugaz gaindiko izaera batetik, 20 laguneko talde bat biltzen du esperientzia kolektibo batean; guztiek elkarrekin hainbat alorri heltzeko asmoarekin hala nola praktika berriri, esperimenturi eta hausnarketa sakon ugariri (honako alderdien arteko loturak, besteak beste, kultura eta lurraldea, kultura eta politika, kultura eta nekazaritza, kultura eta landatartasuna).
Egonaldia bi astez garatu genuen, 2 saiotan banatuta. Lehenengo "geldialdia" Aspe haraneko Urdos udalerrira heldu ginen, "Le Larry" izeneko mendi-bordaren inguruan, 1.700 metroko altueran. Espazio-denbora horrek aukera eman digu naturguneak atzeman, artzain-jardueretara hurbildu eta ezagutzak partekatzeko, baina baita galderak egin, perspektiba berriak aurkitu, arazoei irtenbide berriak eman eta istorio berriak eraikitzeko ere. Udako bazkaleku hartara iristeko, ia hiru orduko ibilaldia burutu behar izan genuen, puskak asto baten gainean jarrita. Bigarren etapak gure praktikak eta ikerketak berriz aztertzeko beta eman zigun, historia komun bat sortu eta gure memoriatik abiatuta, diziplina anitzeko instalazioak ekoizte aldera. Uharte Zentroan garatutako egonaldian zehar, igarotako denborari esker, tokiko kultur eragileekin batera hausnarketa areagotuak azaleratu ziren. Nola diseina eta aktiba dezake proiektu batek landatartasunari buruzko beste ikuspegi bat?
Cayolar proiektua TRAM-Ek bultzatutako ekimena da. Natacha Sansoz artistak sortu zuen elkartea 2018an, Oloroe-Donamarian. Elkarteak landa-eremuko bizipenak eta ikerketa bultzatzeaz gain, artistei sormen-testuinguru ezohikoak eskaintzen dizkie, zenbait leku berezi esploratzearekin lotuta. Izan ere, zuhaitz bat, mendi-borda bat edota txapel fabrika bat artisten eta publikoaren arteko topaketarako gune aproposak izan daitezke, elkarrekin zerbait sortzeko.
/
Natacha Sansoz (Carcasona, 1981) Pirinio Atlantikoetan bizi eta lan egiten du.
Natacha Sansoz artista erlazionala da. Bere praktika artistikoa artea, artisautza eta performancea gurutzatzen dituzten esparru artistikoetara bideratu du hainbat urtez. Pertsonen partaidetzak berebiziko garrantzia du bere sorkuntza-prozesuan.
2018 eta 2019 bitartean, sormen-egoitza ibiltari batekin esperimentatu eta "A Freaky Wedding in the Empty Shack" izeneko proiektua sortu zuen. Nolabaiteko epopeia honek ezkontza arrotz baten istorioa kontatzen du. Pertsonaien kontakizunak iragandako herrialde ezberdinetako topaketak eta kulturak islatzen ditu; Europako errelato komun bat idaztera engaiatuta garen heinean, kontinentearen nondik norakoak marrazteko saiakera moduko bat.
2018 eta 2020 bitartean, etnologo gisa, Europako ehun-zuntzei lotutako ondare inmaterial bizia ikertzen hasi zen, eta xede horrekin TRAM-E elkartea sortu. 2019ko uztailean Georgian, sormen-egoitza baten esparruan, 12 metroko feltrozko artilezko pieza bat eskuz lantzeari ekin zion, artisau georgiar, azerbaiyar eta turkiarren laguntzarekin.
DENOK GUTXI
Ane Azkona
Saiakera honek ezintasun teknikoa mekanismo-artistiko eta performancearen demokratizazio gisa hartzen ditu, bertakoa eta arrotza uztartuz. Nolabait glokalaren ideia arakatzen du proiektuak, indarkeria aitzakia hartuta eta bertako eta arrotzaren arteko irudi-talka ariketa xume batetik abiatuta.
Kalean aurkitutako objektuekin artefaktu eramangarri bat eraiki ondoren, bideoperformance-ekintza izaera hartuko du instalakuntzak, slackline teknika baliatuz. Instalakuntza hori objektu erlazionala da, emaile eta hartzaile anitzen negozioazio-gune geometrikoa, non espazioarekin harremanean dauden elementuek elkarrekiko mendekotasunez jokatzen duten. Bertan aurkezteko formak agerraraziko dira, aldarrikapen-tresna ohikoenetako batzuen elementuen galdezka, berezko ikurrak, keinuak eta esaldiak irakurri ahal izateko. Horretarako, kultura herrikoiaren eta pop-kulturaren iruditeria kolektiboaz baliatuko da, artxibo pertsonalarekin batera. Finean, hurbilketa sozial honek harreman berriak proposatu nahi ditu testuinguruan kokatu eta bera berridazteko.
/
Ane Azkonak (Donostia, 1997) EHUn burutu zuen Arte Ederretako gradua eta Atenaseko Arte Eskolan osatu. Bilbo eta Atenas hiriek ikasleku izanik, euren arte-sistemaren eta akademiaren egoerak eragina izan du bere lan artistiko eta sorkuntza-estrategian. Zehatzago, bere jardunak alderdi erlazionalak, materialak eta espazialak ditu abiapuntu, iruditeria kolektiboan eta pop-kulturan esanguratsuak diren elementuen arteko topaketa kontzeptualak behartzeko. Egun, eremu eta memoria publiko eta pribatuen arteko muga aztertzen dihardu, tradizioz aldarrikapenerako erabili izan diren dispositiboen bitartez arte-lurralderako espazio produktiboa sortu nahian.
RAKEL GÓMEZ VÁZQUEZ
Piedra rima con hiedra, mármol rima con árbol
Piedra rima con hiedra, mármol rima con árbol is a visual essay on the advance of the red palm weevil and the loss of this colonial symbol of the Indian palm trees in the landscape, as a revelation of the history of our time. The Basque hymn Agur Jauna, in its musical, textual and symbolic dimensions, will be taken as the centre of the conceptualisation. This emblematic piece of Euskal Herria is a hymn of great symbolic weight in our culture. In the progress of research from artistic practice on monuments and biological plagues, it has been observed how decolonial readings continue to exercise an extractivist and colonial role over plants. While they have always travelled, we know that our influence has accelerated their dispersal and now also their disease. However, conservation and care currently only takes into account the native flora. Therefore, the disruptive and symbolic capacities of the hymn on these exotic plants will be used in the production of an installation.
/
Rakel Gómez Vázquez is an artist and researcher, with a degree in Fine Arts and a master's degree in INCREARTE from the UPV/EHU. She has completed her training at the Accademia di Belli Arti in Florence and the Universidad Di Tella in Buenos Aires; she is currently writing her doctoral thesis. She is a founding member of the art research collective Armar; she is a member of TXT lab and the research group AKMEKA (Arte, Kultura eta Media), and also collaborates with theSIA. In her career as an artist, she has received several grants and prizes for creative work.
Her production understands creation as research and is articulated as an expanded documentation. She explores the landscape as a cultural construction, which portrays political-social issues of memory and identity, investigating the colonial influence on the visual and symbolic construction of origin and identity, and analysing its validity and projection in the landscape. In addition to consulting archives, libraries and visits to museums, he combines fieldwork and the tools with which he habitually develops practical work through drawing, engraving, installation, photography and photosensitive analogue techniques such as cyanotype.
rakelgomezvazquez.com
CHOCOLATE POT
The fourth edition of the HAU COMPETITION FOR THE DESIGN OF TRADITIONAL BASQUE OBJECTS proposed the chocolate pot as a piece to be reviewed, a vessel used to prepare chocolate. This tubular-shaped kitchen object, convex or ventruda in its lower half, smooth in the part of the mouth, was fitted with a handle. At the top, there is a lid with a hole in the middle for the wooden beater or grinder, which consists of a long bar that protrudes through the opening in the lid so that it can rotate on both sides, beating the ounces of chocolate immersed in water or milk until they melt and thicken the whole. Some of the pieces were placed on a base or on small legs.
The jury was made up of Agurtzane Garai (head of mediation at San Telmo Museoa), Fermín Leizaola (director of the Ethnography Department of the Aranzadi Science Society), Iosu Rodriguez and Jon Lamborena (IBILI Menaje), Elisabeth Urrutia (lecturer and researcher in industrial design at the University of Mondragon), Rafa Gorrotxategi and Carlos Sánchez (representing Bitamine Faktoria) awarded the prize to the NAHUA project, presented by JUNE LIZASO ODRIOZOLA and MARTA LOIDI URQUIZU.
The NAHUA project skilfully and sensitively combines the technical, functional and formal aspects of the object, proposing a design that stands out for its richness in the language used, maintaining fidelity to the original object and updating some of its main characteristics to current uses and customs.
The exhibition showing the winning project along with the most outstanding ones can be visited during the summer at San Telmo Museoa.
Bitamine Faktoria, organiser of the competition, would like to thank the collaborating institutions, the members of the Jury and the people who took part for their interest in this edition.
Prize
NAHUA - JUNE LIZASO ODRIOZOLA and MARTA LOIDI URQUIZU.
Special Mention
MOKAMA - NORA GONDAT UNZALU and EIDER SANCHEZ IMAZ
Outstanding finalist project
LA TXOKO - Aitor Marauri Jauregui, Oier Arevalillo Labayen
Finalist projects
GOXOPOT - Miren Loiti Jaca, Ibone Aboitiz Anakabe
IKATZ - Paula Iglesias Izcue, Eider Gabirondo Lopez
EDONORA - Maitane Urkiola Martinez, Ane Barandiaran Lopez de Audicana
GOXOKO - Malen Deniz Ayerbe, Mireia Elexpe Román
K'AKAW' - Arrate Serrano Otadui, Uxue Cabañes Iturbe
Photos: Oskar Moreno
MICHEL HUNEAULT
Michel Huneault (1976) is a documentary photographer and visual artist. Her work focuses on issues related to development, trauma, migration and other complex geographical realities such as climate and health changes. Michel holds a master's degree from the University of California at Berkeley, where he was Rotary Peace Fellow, investigating the role of collective memory after large traumatic situations. Before focusing on photography, he worked in international development for over ten years.
During his creative residency, Michel Huneault worked in collaboration with the sound artist Johann Mazé (France). Following further work on this topic -De la Frontière (2021), Roxham (2017), Monnaie d'échange (2016) and Occident Express (2015)- Michel continued his research on the idea of "border", this time working on both sides of the Bidasoa River, as well as in the Pyrenean mountain ports of the region. During this period he laid the foundation for a new work that deals with the multiple and simultaneous realities of a place/time that can be banal for the legal European citizen, idle for the tourist or artist who is by the way, but tense for the immigrants trying to cross it with the police presence dedicated to that cause. The artistic piece, in the post-production phase, will be presented publicly in the summer of 2023, in Canada, in the Basque Country and on the Internet.
Cultural exchange program Saison Quebec - Pays Basque organized by Etxepare Euskal Institutua and the Ministère des Relations internationales du Québec.
michelhuneault.com]
5BIDE
The mountain opens our hearts, fills our lungs, washes our eyes and soothes our heads. And in the mountains we also often get lost, sometimes intentionally and sometimes involuntarily. The documentary Bost Bide will cover five excursions through the natural parks of the Basque Country. In each one of them, a slow, deep and real conversation, without a stopwatch, which reveals a small truth. Because the mountain, step by step, is about telling truths. To do this, we will put five couples who do not know each other out of place, walking a pedestrian path over new terrain, discussing when necessary, but above all, reaching a consensus. In short, the documentary aims, through these five micro stories, to return to the purity of mountaineering, to share the path.
/
Leire Egaña, unable to stop dreaming for a minute, found her escape in film and studied at the London Fim School. Today, audiovisuals have become an activity for her. She has the gift of personalising animals and animating people at a glance. And the responsibility attributed to this power is her enthusiasm for directing and camera work at the cooperative production company Bira Produkzioak.
IOCARI
Iocari is a contemporary dance-theatre piece in which a spinning roulette determines the argumentative thread of the piece.
of the piece. The performers limit themselves to playing and following the random order imposed by the roulette, while a countdown descends.
a countdown descends. Iocari fills the streets with prizes, the corners with luck and the faces with impossible smiles.
impossible smiles.
/
Company X is formed by Ada Continente, Saray Garzia and Nadia Yagoubi, and was born in 2018 with the desire to make dance from and to new places.
dance from and to new places.
LILIKATE
In the struggle for gender equality, the steps achieved by each generation of women are the starting point for the next, and the new generations that take over and continue fighting are as important as the past generations that have laid the foundations.
The LILIKATE project highlights the intergenerational transmission of the collective memory of the feminist struggle, from one woman to another, from mother to daughter, and does so through a collective and participatory process of research and creation, which culminates in the production of an avant-garde video dance piece.
The LILIKATE project is developed in three phases and involves mainly three groups of people: an artistic collective related to dance, an audiovisual creation collective with a gender perspective and a collective of older women who have a history of feminist militancy.
/
B>Egia Zinema was founded as a non-profit association in the field of research, resolution and realisation of audiovisual projects with a social and environmental focus. Without forgetting the artistic vision and entertainment, we want to attract the public's attention to social and environmental realities, to the issues that need to be disseminated.
In the last 4 years, it has produced a series of short films and documentaries in which themes such as the surveillance and invalidity of the sea, the distribution of gender violence, the guilt of the victims, etc. have been interrelated.
KARLA CRNCEVIC
love from the border : taxonomy from the future
2023.06.02
18:00H
SALA TALLER
OIASSO MUSEOA - IRUN
"New taxonomies do not guarantee a future for the threatened species; they only lay claim to some grasp on the present, which is made of the past, a history of relations and identities, constructed and contested." -
Donna Haraway, "When Species Meet" (2008)
Proposal for thinking and changing structure of seeing, naming and understanding present - in order of imagining and making space for other futures. Creating dialog with texts, images and impermanent human and other than human archive collected along the Bidasoa river, this happening will present research and work in progress in learning about internal and external borders and margins.
/
Karla Crnčević (1989. Yugoslavia, Croatia). She is a dramaturge and film worker exploring the politics of images and sound through various formats and working conditions. Her video works have been exhibited in several countries.
ESTIBALIZ SADABA MURGUIA
The domestic sphere is one to which women have historically been relegated. Estibaliz Sádaba Murguía's work aims to make visible the socially invisible work that women carry out in this space. In this sense, the aim is to bring it out into the public light, into the "agora".
The research, materialised in images and methodologically projected through actions, develops on the genesis of the very idea of the "domestic", in opposition to the idea of "public space", since it is there where the circumstances that have made possible the isolation, confinement and disciplining of women for centuries are to be found.
The confinement of women to the space of the home is the logical consequence of being part of a patriarchal social structure. For this reason, the aim is to observe, question and work on women's relationship with the domestic sphere. As in previous projects, the artist uses the languages of drawing, sound and video, writing, action/performance and photography (the latter being the ones used on this occasion). The working methodology consists of deploying a wide constellation of images as a result of the sum of these techniques. The aim of the action is to subvert this reclusion, taking the struggle out of the kitchen and the bedroom and into the streets.
Km: 0
Venue: MUNTREF Centro de Arte Contemporáneo y Museo de la Inmigración - Sede Hotel de Inmigrantes
Address : Av. Antártida Argentina S/N (entre Dirección Nacional de Migraciones y Buquebus)
City : Buenos Aires
Argentina
Artist(s):
Estibaliz Sádaba Murguía (ESP-País Vasco)
Curatorship:
Helga Massetani Piemonte (ESP-País Vasco)
From 2023/09/16
To 2023/10/28
+info
chestnut roaster
The aim of the HAU Traditional Basque Objects Design Contest is to update the design of a traditional object present in the Basque culture. This means that we contribute, on the one hand, to the research and recovery of traditional uses and customs and, on the other hand, to the adaptation, renovation and reinterpretation of traditional objects from the point of view of contemporary design, establishing new relationships with our history and expanding the lines of research and fields of action of design.
Ultimately the aim is to recover the traces of our ethnographic experience through design, seeking to strengthen links between tradition and contemporaneity by combining respect for and recognition of craft-made design with the experimentation and potential of contemporary industrial design.
The piece to be reviewed in this call is the chestnut roaster.
In this edition, the Jury was made up of Fermín Leizaola Calvo (Director of the Ethnography Department of the Aranzadi Science Society), Elisabeth Urrutia Bea (Industrial Designer), Xabier Llordes (EIDE, a professional association of industrial, graphic and space designers in the Basque Country and Navarre), Jon Lamborena (Head of design at IBILI Menaje, Nagore Lauroba Izaguirre (Industrial Design Degree Coordinator, Mondragon Unibertsitatea-Goi Eskola Politeknikoa), Helga Massetani Piemonte (Director of Bitamine) and Agurtzane Garai Ibarluzea (Mediation Manager at San Telmo Museoa).
The jury decided to give its award to the project DINAK presented by Marta Loidi Urquizu.
It also selected the projects presented by the following participants for their exhibition alongside the award-winning work. Special mentions: ZESTA (Sergio Pena Tirado). Selected projects: AÏNA (Iker Leizaola), DAMAKI (Maialen Bertiz, Marina Ibáñez), TRIKU (Aroa Ochoa, Mónica González, Olatz Jausoro), REFRAKTARIO (Pedro Galdón), SUTAN (Alicia Comesaña, Paula Arrilucea) and LAKOTS (Luzaide Lizarralde, Uxue Sánchez, Maria Urquiza).
Photos: Iker Azurmendi.
It's a shame that concrete doesn't burn
"It's a shame that concrete doesn't burn" is the translation of the phrase Schade, dass Beton nicht brennt, used by workers and squatters in Germany during the 1970s against the mass construction of reinforced concrete. Concrete is the "miraculous" material that reshaped territories in the post-war era, with multiple implications in the economy, tourism, and progress. This project seeks to investigate and discuss the ruins, scars, remnants, and human relationships with concrete in Palma de Mallorca and Irún.
Raquel Meyers is a multidisciplinary artist and independent researcher who works with obsolescence as a means of resistance, using writing, photography, animation, teletext, the Commodore 64, fax, typewriter, or embroidery as tools. Since 2004, her work has been exhibited in art centers, galleries, and festivals such as Ars Electronica, Transmediale, Xpo Gallery, La Casa Encendida, FILE – Electronic Language International Festival, Liste Art Fair Basel, Getxophoto, BMoCA, Cáceres Abierto, Media Archeology Lab MAL, P21 Seoul, La Gaîté Lyrique, LABoral, iMAL, Piksel, Shibuya Pixel Art, MFRU, HeK, ETOPIA, Eufònic Urbà…
CALLS IN WHICH PARTICIPATES
IZOKIN #7
CROSS-BORDER CREATION GRANT
Izokin supports projects of individual and collective creators as well as initiatives of permanent production spaces and independent cultural representatives, thus strengthening the creative fabric of the area and reinforce its greater dissemination among citizens.
The grant will be aimed at the production of works in visual, audiovisual, performing arts, music, literature, design, comics or any other creative discipline of individual creators and/or groups; projects with innovative and fundamental character and activities with flexible contents. This method is addressed to individuals or groups that carry out their activity preferably in the cross-border territory of Euskal Herria.
The graphic creation of this call is based upon an image with the following license:
CC BY-NC 4.0 2015 / KUTXATEKA / Fotocar / Martín Ricardo
WHAT DOES IT CONSIST OF?
Production of works in visual, audiovisual and performance arts, music, literature, design, comics or any other creative discipline. Taking responsibilities of cultural projects: management of events and/or cultural spaces, the exhibition of works.
WHO CAN RECEIVE IT?
Individuals and groups of individuals with no age limit, who carry out their activity preferably in the territories of Gipuzkoa, Navarre and/or the Agglomeration community of the Basque Country (Lapurdi, Lower Navarre and Zuberoa), or whose project is in some way linked to these territories.
SELECTION CRITERIA
The quality, trajectory, innovation, connectivity, public participatory and cross-border nature of each application will be assessed. For assistance, the evaluation committee may meet with the applicants in order to receive additional information on the application, if they consider appropriate.
DEADLINE
6 March 2020.
IZOKIN #6
SORKUNTZARAKO MUGAZ GAINDIKO LAGUNTZAK
Deialdi honen bidez Bitamine Faktoriak bakarkako sortzaileen eta taldekakoen proiektuak nahiz ekoizpen espazio iraunkorren eta kultur eragile independenteen ekimenak bultzatzen ditu, eta horren bidez lagundu egiten du lekuko sortze ehuna indartzen eta herritarren artean hedapen handiagoa lortzen.
Bakarkako edo/eta taldekako sortzaileen lanak ekoizteko izango dira laguntzak, izaera berritzaileko proiektuak eta aukera askeko oinarriak eta edukiak izango dituzten jarduerak. Beren jarduera Euskal Herriko mugaz gaindiko lurraldean garatzen duten pertsona fisiko edo kolektiboentzat bideratuta dago.
IZOKIN #9
CROSS-BORDER CREATION GRANT
Izokin supports projects of individual and collective creators as well as initiatives of permanent production spaces and independent cultural representatives, thus strengthening the creative fabric of the area and reinforce its greater dissemination among citizens.
The grant will be aimed at the production of works in visual, audiovisual, performing arts, music, literature, design, comics or any other creative discipline of individual creators and/or groups; projects with innovative and fundamental character and activities with flexible contents. This method is addressed to individuals or groups that carry out their activity preferably in the cross-border territory of Euskal Herria.
WHAT DOES IT CONSIST OF?
Production of works in visual, audiovisual and performance arts, music, literature, design, comics or any other creative discipline. Taking responsibilities of cultural projects: management of events and/or cultural spaces, the exhibition of works.
WHO CAN RECEIVE IT?
Individuals and groups of individuals with no age limit, who carry out their activity preferably in the territories of Gipuzkoa, Navarre and/or the Agglomeration community of the Basque Country (Lapurdi, Lower Navarre and Zuberoa), or whose project is in some way linked to these territories.
SELECTION CRITERIA
The quality, trajectory, innovation, connectivity, public participatory and cross-border nature of each application will be assessed. For assistance, the evaluation committee may meet with the applicants in order to receive additional information on the application, if they consider appropriate.
DEADLINE
24 october 2022.
BAR #10
BIDASOA ART RESIDENCY
Bidasoa Artist Residency is aimed at artists of any nationality and without age limit who can reside for at least 45 days in the Basque Country (Spain / France).
This call aims to create a residency for creation and/or research in which an artist reflects on the concept of margin. It is intended for artists of any nationality who wish to stay in the Bidasoaldea region. The focus of the programme consists in generating a result that stimulates reflection and the integration of the different perspectives that are produced in/from the margins.
WHAT DOES IT CONSIST OF?
Bitamine Faktoria offers a help that consists of:
-Advice and accompaniment. Contact with different people from the local artistic and cultural scene will be facilitated.
-Accommodation. (private rural flat with studio, one bedroom with double bed, living room with double sofa bed, bathroom, kitchen, parking and garden).
-Work space.
-Fees (1600 euros gross per month subject to withholding tax).
-Transfer from the place of origin to the residence (up to 1000 euros round trip) *.
-Production expenses (up to EUR 1200).
-Design, editing and printing of the publication with the results of the research and artistic process.
-Communication and dissemination.
Bitamine Faktoria offers the possibility of writing an invitation letter for the selected artist to apply for additional grants in the country of origin.
DEADLINE
7 november 2022
EAS-EZE #7
PROGRAMME FOR THE INTERNATIONALISATION OF CONTEMPORARY BASQUE ART
Bitamine Faktoria is launching this call for applications within the framework established by its plan for the internationalisation of contemporary Basque art. The aim of this programme is to encourage artistic research and production, contribute to the promotion of creators, and promote the international mobility of artists.
It is open to artistic export projects for artists living and working in the Basque Country, whatever their discipline.
WHAT DOES IT CONSIST OF?
The aid is developed in two phases. Initially, the project will be worked on for several months in the Basque context. Once it has been completed, it will be exported for presentation in the city of Buenos Aires (Argentina), where it will be shown in different spaces that are benchmarks of current contemporary culture.
Together with local institutions, a calendar of activities will be established in which the artists will participate in different venues, museums, cultural spaces and galleries (round tables, debates, workshops, meetings and collective works) with significant local artists.
DEADLINE
7 November 2022.
INFO
enter@bitamine.net
HAU #7
TRADITIONAL BASQUE OBJECTS DESIGN COMPETITION
The aim of this call is to update the design of a traditional object present in the Basque culture. In this way, we contribute on the one hand, to research and the eventual recovery of traditional customs and on the other hand, to an adaptation, renewal and reinterpretation from the point of view of contemporary design. We would like to establish new relationships with our history and to expand the lines of research and the action fields of design.
The piece to be reviewed in this call is the chestnut roaster.
This call is opened to any person or legal entity of any age (students, professionals or collectives) in the design field (industrial and product design, architecture, engineering, fine arts, etc.) from any country. Participation in the competition is free.
DEADLINE
12 may 2024