Artists: Elssie Ansareo, Ibon Aranberri, Manu
Arregui, Clemente Bernad, Abigail Lazkoz, Maider López, Asier
Mendizabal, Itziar Okariz, Aitor Ortiz, Juan Pérez Agirregoikoa,
Sergio Prego, and
Guggenheim Bilbao Museum
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GUGGENHEIM MUSEUM BILBAO
Abandoibarra Et. 2
Museum information desk: (+34) 94 435 90 80
Opening hours: Tuesday to Sunday from 10:00 a.m.
to 8:00 p.m.
Chacun à son gout presents a selection of contemporary Basque
artists who have all produced new projects in an exhibition specially
conceived for the Guggenheim Bilbao Museum’s tenth anniversary.
Taken from Diderot, the title of the exhibition champions individual
taste and freedom of choice. As a phenomenon relative toperception
and time, taste may evolve according to social and individual preferences,
and is influenced by class, gender, geopolitics, and aesthetic education.
Every new artwork, every new exercise in interpretation contributes
new perspectives to the public’s reservoir of tastes and values.
The twelve selected artists are part of a generation established
in the late nineties using international art languages to respond
to the complexities of their local milieu.
Elssie Ansareo’s La Danse des Flâneuses
is a large photographic mural that dramatizes identity and otherness,
situating familiar imagery alongside a gallery of phantasmagorical
characters. This timeless genealogy subverts social hierarchies
of origin and status.
Horizons is a series of bright pennants by Ibon Aranberri
that zigzag from the roof of the museum, recycling and modifying
Chillida’s graphic and sculptural legacy. In an ironic linguistic
operation, cultural and political icons and anagrams are reconfigured
to playfully demystify symbolism and memory.
In his latest film, Disarmingly Cute Manu Arregui explores
the physical and psychological transformation of Vanesa Jiménez,
known as “the glass girl” due to a degenerative illness,
to question the concept of hyper-reality and the ethics of TV reporting.
Clemente Bernad uses photography as a social document
in series that are either commissioned by newspapers or the result
of his own inspiration, such as Day Laborers, Basque Chronicles,
and Open Tombs a report on extreme left-wing Turkish prisoners.
Abigail Lazkoz’s black-and-white drawings
double as a kind of restrained, synthetic writing in 130,000 Years
of Last Tendencies, a large mural work that alludes to the art industry’s
obsession with fashion and novelty, while recalling burial rites
as a form of anthropological culture.
Maider López returns to the concept of
spatial geometry to work an ironic, chameleonic transformation on
one of the museum’s more classically designed galleries. By
turning it into a “Frank Gehry gallery”, the artist
borrows the architect’s signature style to question notions
In Nom de guerre, Asier Mendizabal takes an apparent
ready-made from an incident of street violence: a can that burns
away on a concrete block like an urban joss-stick holder. In the
limpid context of the museum building, the flames act as a sign
of social angst, questioning both notions of control and the commemorative
function of sculpture.
Sentences like Have You Given in to Your Desire to Master? are
inscribed on placards by Juan Pérez Agirregoikoa
to signify social urges and political violence. Some of them are
to be found in Project Turned into Installation, fixed to a sports
With Irrintzi, an action shot on video, Itziar Okariz
moves around the museum emitting irrintzis, an ancestral Basque
shout. This tour in sound apprehends the space semantically in a
play of contrasts between remote signifiers, such as the traditional
connotations of the irrintzi and the spectacular modernity of the
Aitor Ortiz’s Y combines a series of photographic
panels with a real opening in one wall of the museum. The work explores
our phenomenological perception of architecture and the lines between
reality, sculpture and photographic representation.
The concept of sculpture as intervention rather than merely object
has led Sergio Prego to install Sequence of Dihedrals
in the courtain walls of the museum Atrium. Although the title appears
to be a simple allusion to geometrical abstraction, the work is
in fact a conceptual challenge to the actual function of art in
Ixone Sádaba explores issues of identity
by splitting her own image, organizing theatrical dance routines
in sublime, apocalyptic landscapes. Poétique de la disparition
and Leviathan are two photo series in which intimate or atmospheric
turbulence becomes a metaphor for a tragic, contemporary dysfunction.