Gallery facade. May 2015.
Sade era una mujer. Ana Laura Aláez. 2013. 33 x 30 x 18. bronze, nails and brassier.
Irrintzi repetition. Itziar Okariz. 2013. 10 min 11 sec. Vídeo.
Escritura Interior. Victoria Civera. 2008. 122 cm diameter. paint on linen.
Exhibition view.
Exhibition view.
Sin Título. Miren Doiz. 2015. 65 x 76 cm; 60 x 78 cm; 60 x 81, 5. Collage.
Sin Título. Miren Doiz. 2015. Variable dimensions. plastic tape.
Donde estas justicia. Itziar Okariz. 2008. 64 x 80,50 each. Photograph.
Sade era una mujer. Ana Laura Aláez. 2013. 33 x 30 x 18. bronze, nails and brassier.
Brain Tree. Ana Laura Aláez. 2008. 27 x 30 x 30 cm. bronze.
Exhibition view.
Exhibition view.
Sin Título. Miren Doiz. 2015. 54 x 61. Glass, rope and iron structure.
Searcher. Victoria Civera. 2009. 275 x 203 cm. Mixed media on linen.
Cortina. Ana Laura Aláez. 1994-2014. 300 x 300 cm. latex and metal bar.
Information
TURN YOUR EYES
Ana Laura Aláez, Victoria Civera, Miren Doiz and Itziar Okariz
23th May to 18th July 2015
Galería Moisés Pérez de Albéniz is pleased to announce Turn your eyes, a collective exhibition of the artists: Ana Laura Aláez, Victoria Civera, Miren Doiz and Itziar Okariz. This show stems from the desire to provoke in the spectator a look of understanding of the different poetics created, that questions feminity in art and how it is represented and which at the same time opens up courses of complaint of current issues in society today. In this way, a bidirectional stress between what is considered traditional cultural construction of the feminine and the feminist subversion is demonstrated through the different materials and artistic worlds used.
Ana Laura Aláez (Bilbao, 1964)
“Mujeres sobre zapatos de plataforma (Women on high platform shoes) has always struck me. In some ways, I think that although some of us had tried to deconstruct that movement called New Basque Sculpture since 1989, it was this work which caused the final blow. Even though it wasn´t her intention, this piece of art makes use of one of the essential topics from the post-Oteiza sculpture: the space itself receives the same status as the subject. Ana Laura recreates the absent presence of a woman’s body through the spatial connection between the wigs and her shoes. It seems ironic that this procedure consisting of strengthening space (so common in Basque sculpture) obeys a feminine presence (almost impercetible within the masculine Basque sculptural world). With guileless sarcasm, Ana Laura demonstrated that we should never stop ourselves from thoughtful transitions between past and future and that we should react to the circumstances that time, place and people impose on us. ”[1]
Victoria Civera (Port de Sagunt, 1955) lives and works between New York and Santander. Her conception of art as a universe where she can reveal her feelings, emotions and experiences, is translated into a constant pursuit of the awareness of the two worlds entwined: the figurative and the abstract. Victoria Civera is a multifaceted artist who is currently focusing on painting and sculpture, as her latest artworks reveal, where the artist works with fabrics, leather, plastic, wood; rich and poor materials, that opens up a spectrum of constructive possibilies. She makes use of multiple references, from both near and far, with which she creates a world of different stimulus where the stereotypes and female clichés are linked, which we can appreciate in the two works of art exhibited here, Searcher and Escritura Interior, both ballanced between tragedy and comedy. Civera’s work is very personal and shows her position towards feminism through constrast, instead of political criticism.
Miren Doiz (Pamplona, 1980) is an artist who lives and works in Madrid. Her colourful works are focused on artistic expressions questioning the boundaries of the pictoric and the new painting spaces. Her art performances substitute the conventional space, which can be seen in the façade of the gallery during the exhibition, cancelling out the principles which have defined the contemplation models and researching on new pictoric formats. In her work, she unifies painting, sculpture, photography and installations, using different materials such as fabrics, cardboard and different woods, most of which are recycled.
Itziar Okariz (San Sebastián, 1965) is an artist who lives in Bilbao. Her work has often been characterized by the production of actions revolving around language and the body as a sign, questioning the boundaries of what is normative. So, in Irrintzi, a form of exclamation used in the Basque valleys as a means of communication and a subsequent element of identity exaltation, she defines a repetition-based action that revolves around the topic of construction of identity, thus defending a displacement of that which is symbolic. Finally, in Donde estás Justicia, the result of delimiting with a line the location of graffiti done on the abandoned Euskalduna shipyards of Bilbao, where numerous clashes between workers and police took place over the years, is shown through photographs.
[1] Excerpt from Dos o tres cosas que estaría bien saber sobre ella from Txomin Badiola, Catálogo Musac, p. 71