We are inviting applications from 1 September for participation in the workshop The Papers of the Exhibition (1977-2017), to take place previously to the fourth encounter of the International Curatorial Symposium. The series of encounters is a collaborative project between Bulegoa z/b and Azkuna Zentroa which aims to study certain exhibitions that took place between 1977 and 2017. To that end, different international encounters will take place, each one focused on a particular decade.

So far, three meetings have been held. The next meeting will be held on 21 and 22 October 2020, in an online and in-person edition, where cases from the 1997-2007 decade will be studied.

The workshop will aim to open up conversation with participants before they take part in the symposium. During the course of it we will be working with material proposed by Ana Dević, Yaiza Hernández, Lisette Lagnado, Maria Lind, Ruth Noack and Azucena Vieites. We will hold four sessions for the workshop, one of them coordinated by Peio Aguirre and the remaining three by the members of Bulegoa z/b.

DATES: 6, 7, 13 and 14 October.
HOURS: from 4:30 p.m. to 7 p.m.
NUMBER: maximum of 20 people.

Free admission on the symposium for workshop participants.

Learn more about the 4th encounter.

REGISTRATION: send an email to including: personal information, a brief curriculum vitae (maximum one page) and a motivation letter (maximum 200 words).

DEADLINE: 30 September, 2020.

In this session, through a selection of critical reviews and articles published in Mugalari, the cultural supplement of Gara newspaper from 2000 to 2004, we will be exploring the state of contemporary art at the turn of the century in our own context and internationally. The articles were published on a weekly basis and were a decisive contribution to the formation of the identity of the art critic, in a way which is still crucial to me today. The nineties and first years of the new millennium brought with them a renewal of contemporary art practices: the emergence of curatorial practice, the “new institutionalisation” and the activation of “artistic projects” by the new economy or the fashion world, and some of these transformations were to affect the shape of the exhibition as a convention. The fin-de-siecle spirit was also infected by neoliberal enthusiasm, and by a zeal for change both institutional and in traditional art practices. The pages of Mugalari were a space for the art community to find itself and for nurturing the public sphere. As a cultural supplement, it was strongly rooted in what is commonly understood as “Basque culture”. The current vacuum in art criticism once again brings up the issue of the public sphere. By taking a look at documents from twenty years ago we will revisit the idea of the exhibition and the state of art criticism in our own context and its international context in those years.

Peio Aguirre. Art critic, independent curator and editor. Lives and works in San Sebastian. Writer of the book La línea de producción de la crítica (consonni, 2014). Aguirre has curated exhibitions for MACBA Museo d’Art Contemporani, Barcelona; Museo de Bellas Artes, Bilbao; Tabakalera, San Sebastian; ARTIUM, Vitoria; CAAM Centro Atlántico de Arte Moderno, Gran Canaria; Museo San Telmo, San Sebastian, and other institutions. Since 2000 he has written for specialised periodicals in Spain and internationally, such as Mugalari (Gara), Cultura(s) (La Vanguardia), EXIT, A-desk, Afterall, A Prior Magazine, Flash Art, El estado mental; e-flux journal, Concreta, and Babelia (El País). In 2019 he curated the Spanish Pavilion at 58 Biennale di Venezia. He has been writing cultural critiques for his own blog Crítica y metacomentario since 2006: