{"id":8183,"date":"2019-03-28T09:59:54","date_gmt":"2019-03-28T08:59:54","guid":{"rendered":"https:\/\/bulegoa.org\/?p=8183"},"modified":"2019-03-28T12:05:13","modified_gmt":"2019-03-28T11:05:13","slug":"bilbao-song-with-ismael-manterola-and-leire-vergara","status":"publish","type":"post","link":"https:\/\/bulegoa.org\/en\/bilbao-song-with-ismael-manterola-and-leire-vergara\/","title":{"rendered":"BILBAO SONG. WITH ISMAEL MANTEROLA AND LEIRE VERGARA"},"content":{"rendered":"<p>Encounter around <em>Bilbao Song <\/em>(Peter Friedl, 2010) with Ismael Manterola and Leire Vergara. This event is part of <a href=\"https:\/\/bulegoa.org\/en\/artworks-for-de-occupying-and-occupying-time-in-the-museum\/\"><em>Artworks for De-occupying and Occupying Time in the Museum<\/em><\/a>,\u00a0a series of encounters accompanying the exhibition\u00a0<a href=\"https:\/\/www.museobilbao.com\/in\/exposiciones\/after-68-268\"><em>After 1968. Art and artistic practices in the Basque Country, 1968-2018<\/em><\/a>\u00a0at the Bilbao Fine Arts Museum. The encounters are based on seven works, some of which are included in the exhibition while others are part of its conceptual framework. In each encounter, artists and art specialists gather together around an artwork.<\/p>\n<p>The encounters in\u00a0<em>Artworks for\u2026\u00a0<\/em>coalesce around the idea of how to imagine the museum through the objects it holds \u2013 the particular museum hosting\u00a0<em>After 1968<\/em>, with its specific nature and history; and the museum in general, as an institution that creates a narrative of the present by storing objects from the past for the future.<\/p>\n<p><strong>Venue: Auditorium, Bilbao Fine Arts Museum.<br \/>\n<\/strong><strong>Time: 7 pm.<br \/>\n<\/strong><strong>Language: Basque (with simultaneous interpretation into Spanish).<br \/>\n<\/strong><strong>Entry free of charge, limited seating. Invitations available at the museum ticket office from the Monday before each session.<\/strong><strong>\u00a0<\/strong><\/p>\n<p><strong>About the artwork<br \/>\n<\/strong>A six-minute tracking shot along a <em>mise en sc\u00e8ne <\/em>of a number of paintings. Some of these are from the Basque painting school from the first thirty years of the twentieth century:\u00a0 <em>El paria castellano<\/em> (The Castillian Pariah, 1917) by Juan de Echevarr\u00eda,<em> El orden <\/em>(Order<em>, <\/em>1918-1919) by Gustavo de Maeztu \u2013 both in the Bilbao Fine Arts Museum collection \u2013, and Aurelio Arteta&#8217;s <em>Tr\u00edptico de la guerra<\/em> (War Triptych, 1937) by. The other paintings relate in some way to the common theme of Basqueness, whether because of the topic they portray, such as Jean-Auguste-Dominique Ingres&#8217; <em>Enrique IV recibiendo al embajador espa\u00f1ol<\/em>\u00a0(Henry IV Receiving the Spanish Ambassador, 1817), the artist who made them, as in\u00a0 <em>Soldado y mulata <\/em>(Soldier and Mulatta), by V\u00edctor Patricio Landaluze, a painter and illustrator from Bilbao who emigrated to Cuba in 1850. Among the <em>tableaux vivants <\/em>are certain well-known local figures \u2013 Julen Madariaga and the clowns Pirritx eta Porrotx, appearing as themselves. In the background, a piano and accordion play Kurt Weil&#8217;s composition for Bertolt Brecht&#8217;s musical <em>Happy End.<\/em><\/p>\n<p>The visual and audio references in Peter Friedl&#8217;s film inevitably refer us to the museum as a container that produces a canonic narrative by the superimposition and stoppage of images of different spaces and times in a continuous whole. Here, however, the artist uses procedures such as the <em>mise en sc\u00e8ne<\/em>, montage, and the tracking shot to highlight the discontinuities and fractures in any constructed narrative. Friedl&#8217;s oeuvre as a whole attempts to renew readings of local narratives embedded in the general framework of modernity, and to do this through the inherent potential of images to renew themselves (all images are both anachronistic and contemporary). <em>Bilbao Song <\/em>was screened from March-June 2010 at the sala rekalde, Bilbao, shortly before ETA declared a ceasefire in September the same year.<\/p>\n<p><strong>Ismael\u00a0Manterola\u00a0Ispizua<\/strong> (Zumaia, 1966). Studied History of Art, Universidad de Valencia: PhD in History of Art, Universidad del Pa\u00eds Vasco EHU\/UPV. Currently working as professor of History of Art, UPV\/EHU. Has written as an art critic for <em>Egunkaria<\/em> and <em>Berria<\/em> and <em>Mugalari, <\/em>the <em>Gara <\/em>newspaper supplement. Curator of <em>Gure Artea 2006<\/em> (2006) and <em>Bilbea eta Hari askeak: euskal artearen bi bildumen arteko elkarrizketa<\/em> (2014). Published writings include: <em>Raemaekersen Marrazkiak: Britainiar propaganda Espainian eta Euskal\u00a0Herrian Lehen Mundu Gerran<\/em> (Servicio de Publicaciones de la UPV\/EHU, 2012), the chapter \u201cCompromiso o especificidad del medio. Arte en el Pa\u00eds Vasco\u00a0en las \u00faltimas d\u00e9cadas del siglo XX\u201d, <em>Autonom\u00eda e ideolog\u00eda<\/em> (La casa de la riqueza, 2016), <em>Maite ditut Maite. <\/em><em>Transmisioa XX. mendeko Euskal Herriko artean<\/em> (Edo, 2017).<\/p>\n<p><strong>Leire Vergara<\/strong>. Independent curator and member of Bulegoa z\/b who has curated many different exhibitions including <em>Las im\u00e1genes recurrentes. <\/em><em>Sobre las condiciones materiales de su retorno<\/em> (with Pablo Mart\u00ednez), MACBA, Barcelona (2017), <em>La pantalla negra o blanca: el poder de ver im\u00e1genes juntos<\/em> XXIII Jornadas de la Imagen CA2M, Madrid (2016); <em>Jose Mari Zabala \u00c9cfrasis. Bideolanak 1986-2016<\/em>, CarrerasMugica, Bilbao (2016); <em>Dispositivos del tocar: Imaginaci\u00f3n curatorial en los tiempos de las fronteras expandidas<\/em>, Trankat, Tetuan (2015). From \u00a02005-2009 she worked as head curator for Sala Rekalde, where she curated solo exhibitions by Can Altay, Phil Collins, Itziar Okariz, Erlea Maneros Zabala, I\u00f1aki Imaz, Haegue Yang, Sean Snyder and Peter Friedl, among others. From 2002-2005 she was co-director of DAE- Donostiako Arte Ekinbideak ( Peio Aguirre), a project associated with Arteleku which produced works by artists such as Susan Philipsz, Phil Collins and Jakob Kolding. In 2017 she finished her thesis on <em>Dispositifs of Touching: A Curatorial Study on The Plazas of Sovereignty <\/em>at the Visual Cultures\u00a0 Department (Curatorial\/Knowledge), Goldsmiths College, University of London. She is currently a member of the Eremuak Temporary Technical Commission, Basque Government, and teaches the course <em>Curating Positions: Logics of Montage: Between the Cinematic Apparatus and the Exhibition<\/em> (with Marwa Arsanios and Leon Filter) for the Masters in Art, Dutch Art Institute, Arnhem.<\/p>\n<p><strong><em>Artworks for De-occupying and Occupying Time in the Museum <\/em><\/strong><strong>is a collaborative project between Bulegoa z\/b and the Bilbao Fine Arts Museum.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Encounter around Bilbao Song (Peter Friedl, 2010) with Ismael Manterola and Leire Vergara. This event is part of Artworks for De-occupying and Occupying Time in the Museum,\u00a0a series of encounters accompanying the exhibition\u00a0After 1968. Art and artistic practices in the Basque Country, 1968-2018\u00a0at the Bilbao Fine Arts Museum. The encounters are based on seven works, [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":8179,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[140],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>BILBAO SONG. 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