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This British artist is renowned for her film work, which she combines with her interest in painting and printmaking.
Nashashibi’s work shows “how important it is to build human bonds that can (...) enable a more enjoyable and lovable existence”.
The exhibition includes several paintings produced during the artist’s stay at Artium Museum in order to set up of the project.
Artium Museum of Contemporary Art of the Basque Country presents the artist Rosalind Nashashibi in a new exhibition project for its Z Gallery programme (until 14 November 2021). The show includes the screening of two films by this British artist, Vivian’s Garden and Part One: Where There Is a Joyous Mood, There a Comrade Will Appear to Share a Glass of Wine, as well as several paintings produced by Nashashibi during her stay at the museum in order to prepare this exhibition. The museum has also produced a publication with a text by Francisco Salas to accompany the show.
Rosalind Nashashibi's recent exhibitions include those held in museums and institutions such as Secession, Vienna; The Art Institute of Chicago, and Witte de With Centre for Contemporary Art, Rotterdam, among others, and her presence in international events such as the 52nd Venice Biennale, Manifesta 7, Sharjah 10 and Documenta 14 is also worth noting. She has won various awards, including the Beck’s Futures art prize in 2003, and was nominated for the Turner Prize in 2017.
What are we doing together? It is a recurring question for the students in the film class at Dora Maar High School, as well as for Eric Baudelaire (Salt Lake City, USA, 1973), who worked with them for four years. Answering this political question –which involves representations of power, social violence and identity– led them to search for a cinematic form that would do justice not only to the uniqueness of each student, but also to the essence of their group.
What are we doing together if not a documentary or fiction? A dramatic film, perhaps, in which time works upon the bodies and discourse of the students, and in which we discover the possibility of each person speaking on their own behalf by filming for others and becoming co-authors of the film and subjects of their own lives.
Eric Baudelaire is an artist and filmmaker. His recent feature films include Also Known As Jihadi (2017), Letters to Max (2014), The Ugly One (2013) and The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images (2011), all of which have been widely screened at film festivals such as Locarno, Toronto, New York, Marseille and Rotterdam.
Curator: Garbiñe Ortega
The Z Gallery (Z for zinema, cinema in Basque) programme aims to bring to the public authors interested in searching for new narrative forms by questioning the genres that historically categorise cinematographic language. 2021 season of the programme we want to highlight the interest and research deployed by their authors on the idea of the collective, as well as the ways in which to continue thinking and working together to project a shared future.
Edited on the ocassion of the exhibition Paraíso, by Maddi Barber y Marina Lameiro, inside Z Gallery programme.
After the villages in the Arce Valley were abandoned in the 1960s, the Government of Navarre planted pine trees in the fields that were tilled or used as pasture for animals. More than 50 years later, they have decided to cut down the pines and recover their fields in a village repopulated in the 1980s. This film explores a territory in transformation by using a variety of data and image capture technologies.
The British-Palestinian artist Rosalind Nashashibi (Croydon, London, 1973) is renowned for her film work, which she produces simultaneously with her work in painting and printmaking. Through her meditative, slow-paced films, she suggests a flexible treatment of time that occasionally seems to be suspended.
The artist is presenting two pieces from her filmography (Vivian's Garden y Part One: Where There Is a Joyous Mood, There a Comrade Will Appear to Share a Glass of Wine) on the occasion of her participation in this series at the Museum.
Her recent exhibitions include those held in museums and institutions such as Secession, Vienna; The Art Institute of Chicago, and Witte de With Centre for Contemporary Art, Rotterdam, among others, and her presence in international events such as the 52nd Venice Biennale, Manifesta 7, Sharjah 10 and Documenta 14 is also worth noting. She has won various awards, including the Beck’s Futures art prize in 2003, and was nominated for the Turner Prize in 2017.
Conversation with Rosalind Nashashibi at Artium Museum: Thursday 16 September, 6:00 pm.
Curator: Garbiñe Ortega
The Z Gallery (Z for zinema, cinema in Basque) programme aims to bring to the public authors interested in searching for new narrative forms by questioning the genres that historically categorise cinematographic language. 2021 season of the programme we want to highlight the interest and research deployed by their authors on the idea of the collective, as well as the ways in which to continue thinking and working together to project a shared future.
The film is part of the Z Gallery programme and portrays a territory in transformation after years of abandonment of agricultural activity. The film combines scenes shot on 16 mm film as well as images obtained by digital means.
The Museum of Contemporary Art of the Basque Country presents the premiere of Paraíso, a new film by the directors Maddi Barber and Marina Lameiro, produced as part of Artium Museum’s Z Gallery programme. The film leads us through a territory in transformation that its inhabitants want to recover after decades of abandonment of agricultural activity. Barber and Lameiro combine filmed scenes with images recorded by using digital data capture technologies. In order to mark this exhibition, Artium Museum has published a publication with an essay by María Palacios Cruz, curator, lecturer and researcher on moving images. The film was produced in collaboration with the Mondragon Corporation. The Z Gallery programme is curated by Garbiñe Ortega.
The film begins in darkness with the sound of a woman’s voice describing the images that she sees or has been allowed to see. As María Palacios Cruz explains: “She understands them as referring to ‘death’, but there is no sadness, no heaviness about them. It is all part of the natural order of things; death and life are inseparable. Later, we will learn that the images the woman is describing are the voices of trees in a woodland area that has been marked for deforestation”. After the villages in the Arce Valley were abandoned in the 1960s, the Government of Navarre planted pine trees in the fields that were tilled or used as pasture for animals. More than 50 years later, they have decided to cut down the pine trees in one of these villages to recover the fields, the agricultural practices and the way of life that was on the verge of disappearing with the depopulation of the rural areas in favour of the cities. Its inhabitants have always called this place “Paradise”.
Maddi Barber and Marina Lameiro have made this film by combining analogue 16mm filming, with its specific texture, and digital image capture using a three-dimensional landscape scanner. The exhibition also includes a series of topographic maps and orthophotographs from various periods that show the successive transformation of this territory of the Arce Valley, in addition to a herbarium with samples collected in the area where the film was shot. The project is completed by a series of making-of stills and a sound piece that preserves the memory of the sounds of the forest.
Paraíso is the first collaboration between Maddi Barber and Marina Lameiro. Both Barber and Lameiro have engaged with collective and participatory processes before, but more than an exchange between their respective artistic practices, Paraíso proposes one with (and between) the inhabitants of the forests around Lakabe, both human and non-human; a story told by the trees that are to be felled to make way for pastureland.
Con motivo de la apertura de la exposición y el estreno de la ppelícula Paraíso, de Maddi Barber y Marina Lameiro, dentro del programa Sala Z, el Auditorio acogerá su proyección junto con una conferencia de las directoras para explicar el origen y el desarrollo de este proyecto.
Proyección de Paraíso y charla con Maddi Barber y Marina Lameiro
Viernes 2 de julio, 18:00 horas
Auditorio. Aforo limitado
Inscripciones: 945 20 90 20
Cardón cardinal tells an extended version of an event that occurred 26 years ago: moving a giant cactus, a Pachycereus pringlei, 17 metres high and weighing 18 tons, from the deserts of Baja California to the gardens of the Mexican Pavilion for the Universal Exposition of Seville in 1992. Cardón cardinal is part of the Sala Z programme, a space from which to reflect on and draw attention to works by artists making the leap into the cinematographic field as welll as filmmakers exploring the exhibition format.
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Cardón Cardinal tells an extended version of an event that occurred 26 years ago: moving a giant cactus, a Pachycereus pringlei, 17 metres high and weighing 18 tons, from the deserts of Baja California to the gardens of the Mexican Pavilion for the Universal Exposition of Seville in 1992.We see a computer screen that presents us with the images of a trip to Mexico and another to Seville, while a voiceover shares with us the research carried out in an attempt to understand the presence of this abandoned cactus in Seville.
Patricia Esquivias was born in Caracas and grew up in Madrid. She trained in London (1997- 2001) and furthered her studies in San Francisco (2005-2007). Her work has been displayed in solo exhibitions at Círculo de Bellas Artes de Madrid, Langenhagen Kunstverein, Stacion Pristina, CA2M Móstoles, MARCO Vigo, Hammer Museum, Museo Reina Sofía and White Columns, as well as in group exhibitions such as Querer parecer noche, CA2M; Arte y cultura en torno a 1992, CAAC; Ficciones y territorios, Museo Reina Sofía, and When Things Cast No Shadow, 5th Berlin Biennial for Contemporary Art.
Publication
The Z Gallery (Z for zinema, cinema in Basque) programme aims to bring to the public authors interested in searching for new narrative forms by questioning the genres that historically categorise cinematographic language. 2021 season of the programme we want to highlight the interest and research deployed by their authors on the idea of the collective, as well as the ways in which to continue thinking and working together to project a shared future.
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