iritegi cave alex mitxelena
I asier larraza Ibon Aranberri was born in Deba-Itziar and actually lives in Bilbo.
In his work Ibon Aranberri proposes alterations of the iconographical, historical and perceptual meaning of references that form a part of an intensely mediatized common imaginary.
Through his work with objects, images and landscapes – quite often local – defined by a highly symbolic nature, and by means of past events, now inactive yet still present within collective memory, Aranberri generates new responses to pre-established situations.
His interventions activate a process that is always dependent upon the socio-political and cultural conditions of the given place and time in which it is produced and upon the audience it addresses, despite being related to more generic and universal imaginaries. Ibon Aranberri has built his latest creation in a cave. He started off with a map, found a cave and built a line outside it. A built line, a built metaphor.
“I was looking for a cave, something suitable for what I was thinking about. Somewhere away from the city, somewhere surrounded by nature. That’s when I found this place in Iritegi.”
He’s shut the cave off with a metal sheet. The cave itself has dictated the cut of the sheet, there are no superimposed edges. Nature in the shape of the cave outline has dictated the form. The place where the sheet is hung is half in and half out of the cave. The design takes shape where the metal meets stone. There are no notions of traditional aesthetical design nor is it meant as a work of art.
“The symbolic and anthropological relationship with the “feel” of this place came later. I must say that it was really quick from the start.”
Working that middle ground cuts up the space here. It defines both the inner and outer shells. The audience loses perspective of that interesting middle-ground and this enables them to capture everything as a whole and thus, see both sides. The steel sheet joins the inner depth with the vastness of the exterior. We don’t see any sculptures.
There is no definite object impressed upon us. Seen from the outside, it’s a distorted version of a point found in nature. It becomes the setting’s mediation. The positioning is symbolic in this society of ours that links the definition of identity with the land we live on.
“Yeah, sure, in the type of world we live in, there’s this great density, and we carry that around with us. That’s why I wanted to take a superficial look at it, I didn’t want to touch upon the deepness of the hole. This is more than just a look at myths and cultural relationships, it a building of desire and form. It’s the type of thing that we identify with on hearing about it. I myself can see a following on here, something that can be assimilated on a natural scale.”
In his work Ibon Aranberri proposes alterations of the iconographical, historical and perceptual meaning of references that form a part of an intensely mediatized common imaginary.
Through his work with objects, images and landscapes – quite often local – defined by a highly symbolic nature, and by means of past events, now inactive yet still present within collective memory, Aranberri generates new responses to pre-established situations.
His interventions activate a process that is always dependent upon the socio-political and cultural conditions of the given place and time in which it is produced and upon the audience it addresses, despite being related to more generic and universal imaginaries. Ibon Aranberri has built his latest creation in a cave. He started off with a map, found a cave and built a line outside it. A built line, a built metaphor.
“I was looking for a cave, something suitable for what I was thinking about. Somewhere away from the city, somewhere surrounded by nature. That’s when I found this place in Iritegi.”
He’s shut the cave off with a metal sheet. The cave itself has dictated the cut of the sheet, there are no superimposed edges. Nature in the shape of the cave outline has dictated the form. The place where the sheet is hung is half in and half out of the cave. The design takes shape where the metal meets stone. There are no notions of traditional aesthetical design nor is it meant as a work of art.
“The symbolic and anthropological relationship with the “feel” of this place came later. I must say that it was really quick from the start.”
Working that middle ground cuts up the space here. It defines both the inner and outer shells. The audience loses perspective of that interesting middle-ground and this enables them to capture everything as a whole and thus, see both sides. The steel sheet joins the inner depth with the vastness of the exterior. We don’t see any sculptures.
There is no definite object impressed upon us. Seen from the outside, it’s a distorted version of a point found in nature. It becomes the setting’s mediation. The positioning is symbolic in this society of ours that links the definition of identity with the land we live on.
“Yeah, sure, in the type of world we live in, there’s this great density, and we carry that around with us. That’s why I wanted to take a superficial look at it, I didn’t want to touch upon the deepness of the hole. This is more than just a look at myths and cultural relationships, it a building of desire and form. It’s the type of thing that we identify with on hearing about it. I myself can see a following on here, something that can be assimilated on a natural scale.”
