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Everything Near Me comprises an installation of two films: 025 Sunset Red by Laida Lertxundi and In a Nearby Field by Laida Lertxundi and Ren Ebel. The first explores a variety of affective landscapes that are also related to specific socio-political contexts, those of the Basque Country and California. The second, filmed over two years in the Basque Country, combines everyday scenes with lush landscapes, fleeting moments that
shape and sustain life.
Laida Lertxundi (Bilbao, 1981) is an artist and filmmaker whose films draw parallels between landscape and body as centres of pleasure and experience. Pedagogy is central to her practice, and she currently teaches at the École Nationale Supérieure des Beaux-Arts in Lyon.
Ren Ebel (Los Angeles, 1992), is an artist and writer from California. He works in a range of media including video, sound, text and drawing. He received his BFA in film and video art from the University of California, San Diego, and his MFA in studio practice from ArtCenter College of Design in Pasadena, California.
The Z Gallery is a space that explores new ways of associating film with art. It is neither a film season in a cinema nor a typical exhibition. It is a project that constructs a third space in the museum from which to visualise and analyse works by artists approaching the cinematographic field and filmmakers exploring the exhibition format. It is a programme that was created to think about the moving image in the museum, introducing authors seeking new narrative forms by questioning the conventions, genres and categorisations that have historically defined cinematographic language.
A convent in Lizaso (Navarra) was home to the eccentric Arco Iris (Rainbow) community in the 1980s. The drab walls of the building were adorned with huge floral motifs and its rooms hosted large gatherings where people experimented with cathartic practices that had a new age tinge. The building today is inhabited by cloistered monks and the traces of that period are almost imperceptible.
The authors of San Simón 62 approach the place attracted by the testimonies of their mothers, who spent time in the Arco Iris community in an attempt to shake off the after-effects of Franco’s regime and confront the personal and political challenges of this new era.
Irati Gorostidi and Mirari Echávarri were neighbors for the first few years of their lives. The change of city separated them until some time later they met again in Bilbao to study Fine Arts. They've been working together ever since.
Mirari Echávarri's latest works have been exhibited at Tabakalera, Artium Museoa, the Navarre Museum and international film festivals, among others.
Irati Gorostidi is developing her first feature film, selected for the 2022 Ikusmira Berriak program. Her previous films have been shown at international festivals and museums.
The Z Gallery is a space that explores new ways of associating film with art. It is neither a film season in a cinema nor a typical exhibition. It is a project that constructs a third space in the museum from which to visualise and analyse works by artists approaching the cinematographic field and filmmakers exploring the exhibition format. It is a programme that was created to think about the moving image in the museum, introducing authors seeking new narrative forms by questioning the conventions, genres and categorisations that have historically defined cinematographic language.
Edited on the occasion of the exhibition Clamor, which has held in Artium Museoa, Vitoria-Gasteiz, from July 22 to Septiember 18 2022, inside Z Gallery programme.
Text: Andrea Cinel.
July 22, 12 pm
Free entrance
On the occasion of the inauguration of the exhibition Clamor by Edurne Rubio, framed in the Sala Z program, the author will present the film that gives its name to the exhibition.
In Clamor, Edurne Rubio Barredo’s latest film, the artist depicts places that were used as burial sites for those relegated by the Catholic Church: suicides, babies who died before being baptised, executed people, atheists, passers-by and Protestants. By focusing on the specific history of the province of Burgos, Rubio has gathered together personal stories that are infused by the historical events and processes that have marked the region. The current state of these places reflects the coexistence of life and death and the cohabitation of various species within the territory, thereby questioning the monopoly over the sacred of certain institutions.
Edurne Rubio (1974) is a visual artist based in Brussels working in the fields of exhibitions, performance, film and architecture. Her research work has been associated with individual or collective perception of time and space. Her work is tied to documentary and anthropology, using interviews, archival images and research into oral communication.
Produced in collaboration with MONDRAGON
Linked activity
Screening of Clamor followed by a discussion with Edurne Rubio
Friday July 22, 12 pm
Free entrance
The Z Gallery is a space that explores new ways of associating film with art. It is neither a film season in a cinema nor a typical exhibition. It is a project that constructs a third space in the museum from which to visualise and analyse works by artists approaching the cinematographic field and filmmakers exploring the exhibition format. It is a programme that was created to think about the moving image in the museum, introducing authors seeking new narrative forms by questioning the conventions, genres and categorisations that have historically defined cinematographic language.
Curator: Garbiñe Ortega
Edited on the occasion of the exhibition Fluid Frontiers, which has held in Artium Museoa, Vitoria-Gasteiz, from June 4 to July 17 2022, inside Z Gallery programme.
Text: Greg de Cuir Jr.
Edited on the occasion of the exhibition Gold. Fundir y parar, which has held in Artium Museoa, Vitoria-Gasteiz, from April 8 to May 29 2022, inside Z Gallery programme.
Texts: David Bestué, Ainara Elgoibar.
Empowering Acts: A Brief Reflection on Fluid Frontiers
Liberation is a hard thing to pin down. It is highly elusive. It often operates under the cover of darkness, sometimes only leaving a subtle trace of its existence – moving from one location to another through hushed tones and clandestine movements – evading surveillance at every turn, waiting for just the right moment when individual whispers are ripe enough to be transformed into a collective shout.
In Ephraim Asili’s Fluid Frontiers, the fifth and final film in his remarkable series entitled The Diaspora Suite – a project that saw Asili journey to Ethiopia, Brazil, Ghana, Jamaica and the United States in search of unifying markers of connection between African descendant people, poems take a back seat to the people who activate, process and reimagine them.
Asili documents Detroit/Windsor natives as they read passages aloud from books published by Broadside Press, an independent Detroit-based publishing company founded by Dudley Randall in 1965. Featured books include works by artists such as Audre Lorde, Sonia Sanchez, Nikki Giovanni, Margaret Walker, Don L. Lee, Etheridge Knight and Dudley Randall. What is most striking about the encounter is the self-reflective quality of the readers, who often pause at irregular breaks in the poem to reflect on what they are reading. And if you pay close attention, you can actually see their eyes processing the information.
At different points in Fluid Frontiers, Asili shifts away from this encounter and focuses on the local environment. Coupled with images of stillness, we hear the voice of poet Margaret Walker reciting “Harriet Tubman”, bringing the Black Arts Movement in direct contact with The Underground Railroad. Then Asili cuts back to Black Detroit/Windsor natives reading poems in the streets, whose active presence supplies the words with the empowering acts that they need in order to come into being. In this moment, the presentness of the past is undeniable and liberation, much like the poems without the readers, feels unfinished. Perhaps that is the point.
Darol Olu Kae
The Z Gallery is a space that explores new ways of associating film with art. It is neither a film season in a cinema nor a typical exhibition. It is a project that constructs a third space in the museum from which to visualise and analyse works by artists approaching the cinematographic field and filmmakers exploring the exhibition format. It is a programme that was created to think about the moving image in the museum, introducing authors seeking new narrative forms by questioning the conventions, genres and categorisations that have historically defined cinematographic language. Curator: Garbiñe Ortega
Ainara Elgoibar’s installations, texts and films explore her interest in industrial activity in both productive and leisure environments. The factory, the engine, glass, music and entertainment are recurring themes in her work. The two audiovisual works on display in this room belong to the same research related to the production of Gold 20, a gold-coloured architectural glass that is produced by depositing a thin composition of metallic layers on one side of transparent glass sheets.
In addition to these films, the exhibition includes a final model – following others previously made by the artist of buildings that either used or contemplated using Gold 20 in their construction. The model in question is the upper cone of the Intempo tower in Benidorm. The Gold 20 piece featured in Glas Marte Cut was cast in order to produce this small-scale model.
Gold 20. 2014. HD video. 16 min 49 s
Gold 20 portrays the production process of this glass. Its aim is twofold: on the one hand, to gauge the danger with which this video record is perceived in the plant and, on the other hand, to explore the limits of video in order to represent this industrial process.
Glas Marte Cut. 2016. HD video. 18 min 5 s
Glas Marte Cut follows the process of reproducing a small piece of Gold 20 glass at Glas Marte Gmbh (Austria), a company dedicated to the production of large architectural elements. The commission was an excuse to film the company’s production activity, an exceptional exercise per se, but also because of the tiny scale of the piece.
Image: still from Gold 20. Ainara Elgoibar 2014
The Z Gallery (Z for zinema, cinema in Basque) programme is neither a season of films nor an exhibition. It is a project that constructs an intermediate space from which to reflect on and draw attention to works by artists making the leap into the cinematographic field as well as filmmakers exploring the exhibition format. It is a programme arising from the determined gesture of thinking about the moving image in the museum. A programme that aims to bring to the public authors interested in searching for new narrative forms by questioning the genres that historically categorise cinematographic language.
Curator: Garbiñe Ortega
Edited on the occasion of the exhibition Aura Satz. She Recalibrates at Artium Museum, inside Z Gallery programme.
Texts: Jo Hutton, Xabier Erkizia
© 2023 Artium Museoa.