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B a S T E R R E T X E a G E R N I n e s t o r b a s t e r r e t x e a r e n g e r n i k a 1 nestor basterretxearen gernika Euskal Herria Museoa 8-4-09 / 31-8-09 © Komisariotza: X. Sáenz de Gorbea © Diseinu: Sonia Rueda Argazkiak: A.V. Itzulpenak: Hori-Hori, Alphatrad Spain S.L. ISBN: 978-84-7752-444-0 D.L.: BI-884-09 Esker onak: Gernika-Lumoko Udala, Gernika-Lumoko Turismo Bulegoa, Windsor Kulturgintza, Alberto Ipiña, Iñaki Gracenea, Joseba Unanue n e s t o r b a s t e r r e t x e a r e n g e r n i k a 4 70 urte baino gehiago pasatu dira Pablo Picassok Pariseko erakusketako pabiloi espainiarrerako horma-irudia egin zuenetik. Izan ere, hegazkin alemaniarrek Gernikan egindako sarraskiaren berri izan eta gero egin zuen. Picassoren Guernicak hain sakon eta indartsu islatzen du gure memoria, ezen berau ikusteak gerra eta horren osteko aldirik krudelena bizi ez genuen belaunaldikoak garenak hunkitzea lortzen duela oraindik ere. Guernica gerraren izuaren aurkako eta bakearen aldeko antzinako oihu plastiko bat da; munduko mapan Gernika holokausto zibilaren zati gisa kokatu duen artelana da. Euskadin beste bonbardaketa batzuk ere egon ziren, gerra zibilean beste sarraski batzuk ere, pertsona askoren kontzientziak astindu zituztenak: Durango, Otxandio, Bilbo… Baina Gernikan gertatutakoak toki-eremua gainditu eta sarraskia eta frankisten gezurra lau haizetara zabaltzea lortu zuen. Artearen eta kulturaren munduak ez ditu Guernica eta Gernika alde batera utzi: artelana eta hiribildu martiria etengabe bir-sortu eta ber-piztu dira. Eta erakunde demokratikoon ardura da euskal gizartearen demokrazia eta jendetasun irakaspen hau bizirik mantentzea, gizarte arloko gure jarduera eta politika guztien bitartez. Bizkaiko Foru Aldundiak aparteko azpiegitura dauka Euskal Herria Museoan, mundura ateratzeko Euskal Herriaren historiari buruzko begirada propio batekin. Eta erakusketa-proiektu honetan foru hiribilduaren hondamendiaren ikuspegia islatu duten euskal artisten lanak erakusteko plataforma bat aurkitu du. Iaz hasi ginen, “remigio mendibururen gernika” erakusketarekin; dagoeneko gure artean ez dagoen artista gipuzkoarraren begietatik ikusitako Gernikaren ikuspegia izan genuen. Oraingoan, beste artista unibertsal handi baten lana ekarri dugu: Nestor Basterretxea. Bere lan ugariak, kalitate egiaztatua duenak, bere bizi-ibilbide zabalarekin batera, azken euskal eskultore handia dela erakusten digu. Euskal Herria Museoarentzat ohore bat da “nestor basterretxearen gernika” erakusketa hartzea. Lana bera baino gehiago, gurekin lan egin duenean erakutsi duen apaltasuna, hurbiltasuna eta ahalegina eskertu nahi dizkiogu euskal artista handiari, berarentzat oso baliotsua den denbora eman baitigu. M. Josune Ariztondo Kulturako foru diputatua 3 Nestor Basterretxearen Gernika-k Xabier Sáenz de Gorbea 1924an jaioa, proiektu asko dauzka abian eta irakinaldi betean dagoen egilearen izpiritu geldiezina du. Denbora joan ahala, bere lan anitzaren ondare zabala astinduz doa, Nestor Basterretxea sortzaile egonezin eta kuriosoa da, jatorri errenazentistaduna, hainbat arlorekiko interesa izan duena: marrazketa, margolaritza, eskultura, diseinua, zinea, arkitektura, collagea, edo idazketa. Agerpen hauetan guztietan, artista bermeotarrak beti uzten du bere aztarnaren kutsua. Ez ditu zatien xehetasunak bakarrik zaintzen, baizik eta osotasuna ere kontuan hartzen du. Zehaztasun eta zorroztasunez aztertu, nahiz abiapuntu izan dituen inpresioak laburbiltzen ditu, helburu formatu handia izatea duen osotasuna osatu arte. Ezaugarri liriko eta zentzu garrantzitsutik libre ez dagoen monumentu-izaera: larrialdi existentzial premiazkoagatik bere lana seriotasunez burutzen duen larritasuna. Hondarribira bizitzera joandako sortzailea, ez da soilik arreta hizkuntza, material edo prozeduretan bakarrik jartzen duen sortzailea. Ez da, ezta ere, forma eta bolumenen lantze estetizistarekin harremanak dituen formalista, baizik eta,batere abstraktuak ez diren bihozkada, ideia eta sentipenetatik abiatzen da, hauen bilaketak ahalik eta aktiboen esku hartu nahi duen zergatiari buruzko onarpenarekin dute zerikusia. Bere asmoak desira pertsonal artistikoen eta sentimendu kolektiboen artean oinarritzen diren emaitzetan batzen ditu, tentsio eta irakinaldi biomorfiko beteko lana osatuz. Bizitako lehenengo urteetako iragan gorabeheratsua, egileak berak “Crónica errante y una miscelánea” (Alberdania, 2006) liburu biografikoan transkribatu dituen bidaiaren aztarna da, sentimendu eta zertzeladaz betetakoa. Itsasontziz egindako exodo luzea eta ondorengo Argentinako erbestealdiak, oroipenetik haratago jardutera daraman ezagutza kulturalaren zati diren bizipen pertsonalak eraikitzen ditu. Beharbada, horrexegatik dago hain presente bere lanean gerra zibila. Aldi honi buruzko hainbat sortze- proiektu gauzatzen ditu. Memoria bizi mantentzea da asmoa, aktiboki 4 benetako adierazpen plastiko bihurtuz. Sufrimendu hura ahaztu ez dadin egiten dituen ekarpenak hainbat dira. Lan batzuk borondatez egiten ditu, existentziazko beharrizanagatik. Baina beste pieza batzuk instituzio eta erakunde publikoen enkarguei esker burutu dira formatu handian. Euskal itsasgizon eta itsasontzi-indar handiagoaren arteko borrokaren adierazgarria, adibidez, Matxitxako lurmuturretik gertu dago, eta 2007. urtean jarri zen: Bilbon, Casilda Iturrizar parkearen albo batean, errepublika garaian zehar, askatasun eta demokraziaren alde borrokatu zuten gizon eta emakumeei egindako omenaldia inauguratu zen 2006an. Formatu handiko hilarria, bere tipologia indibidual eta bertikala egitura horizontal zabal bihurtu du trebetasunez. Zabalera honek beren ideal zintzoen alde borrokatzeari utzi ez zion hainbeste jenderen aldarri kolektiboa agerian jartzen du. Asko dira 1937ko apirilaren 27 zorigaiztoko horretan gertatutako alemaniar eta italiarren hegazkinen eraso horri buruzko oroimen eta haserrea agertu duten artistak. Gertaera honek hitzartze frankista izan zuen, ez baitzituen gertaerak onartu eta hondamena eta sutea euskaldun eta errepublikarrei egozteko itsuskeria izan baitzuen. Horrelako bidegabekeriaren aurrean, Nestor Basterretxeak foru-hiribilduko bonbardaketaren berrogeita hamargarren urteurrenari buruzko eskultura-aldakuntzen multzoa eta hamazazpi margolan egin zituen. Eskulturak inoiz batera erakutsi ez diren bertsioak dira. Lehenengoak erortze eta hondamenaren ondorioa proiektatzen du. Plantxa aktiboek osatzen dute eta bere diagonalak lurreraino oso azkar jaisten dira eta hondamena egiaztatzen dute, angelu eta forma muturdunak sortuz, bertan norbera barneratu eta zeruaren izkinako mugak hauteman ditzake. Bigarren pieza arkitektonikoagoa da. Kolokako egitura-antolatzea du. Oreka ahularekin artikulatzen diren erritmo errepikakorren jarraipena. Inguruan egindako triskantzak gorabehera, artistak irauteko nahia nabarmentzen du, itzel nabarmendu ere. 5 Gernika. 1986 Altzairu korten 83 x 43 x 25 cm. 6 Gernika. 1986 Altzairu korten 83 x 43 x 25 cm. 7 Gernika. 1986 Altzairu korten 83 x 43 x 25 cm. 8 S. T. (Gernika). 1986 Egurra 36 x 62 x 71 cm. 9 S. T. (Gernika). 1986 Egurra 36 x 62 x 71 cm. 10 S. T. (Gernika). 1986 Egurra 36 x 62 x 71 cm. 11 Margolan handiena Gernika 50 da. Tamaina handia du, 2,5 x 2 m., eta 1987an Institutuan egin zen euskal artisten taldean aurkeztu zen. Geroago, 2006an, Bilbon erakutsi zen, margolan horren ondorio diren gainerako koadroekin batera. Ekintza honetan erabilitako estrategia, Cosmogónica Vasca seriearen inguruan 1972an landutakoaren antzekoa da. Baina askoz ere kontzienteagoa, kasu honetan, zirriborroa tamaina handiko, pisu handiko eta itxura indartsuko lanean oinarritzen baita. Orduan, euskal mitologiako pertsonaiak margotu bazituen gau batean zehar, orain gertatutakoaren kronologia jarraitzen duela dirudi. Gero autonomia osoz garatuz doan partitura da. Lehenengo lan honek multzora jotzen du eta hainbat ohar plastiko dituen egutegiaren orria bezalakoa da. Batzuetan, zeinuak almanakan dauden ikurrak bezalakoak dira. Bestetan, zeinuak zabaldu egiten dira eta bi laukitxo bete ditzakete. Izuaren zalaparta, eragin eta usainekin ere harreman zuzena duten gertaerak zabaltzeko modu sintetikoa da. Gaia zuzenean eta modu figuratiboan tratatzeaz gain, keinu zehatz eta organikoen irudikapen abstraktutzailearen oihartzunek kontakizuna zatitzen dute. Bertan, mimesitik urruntzen da eta iradokizun eta aipamenezko unibertsoari forma ematen dio, eta honi esker, bizitakoaren zentzu agoniatsua handitzen du. Lan soila, zehatza eta hedakorra, ezer ez da falta, ezer ez dago sobran. Izpirituaren eta gogoaren begiez gogoraraztea da. Hizkuntza lasai eta indartsuak erabateko energia denotatu eta asoziazioen eta erresonantzien aldakortasuna konnotatzen du. Seriotasunez, gertatutakora hurbiltzen da, operazioaren igarotzea story board antzeko bat bihurtzen da eta honek eguneko ordu ezberdinak eta metrailatze eta bonbardaketaren hurrenez hurreneko boladak nabarmentzen ditu. Lanak goitik beherako eta ezkerretik eskuinerako jarraikortasun eskaintzen duten izaera horizontal samarra eta narrazio-tonua ditu. Behealdean, zerrenda gorri eta baserrian dauden egurrezko bilbaduraren eraikuntza-gurutzetari keinua dirudien beste elementu batzuen bidez, motibo-multzoa eteten da. Jatorrizko zeinuak sortzen ditu. Zeinu hauek multzo trinko eta hutsuneen, positiboa eta negatiboaren arteko tentsioa, okupazio eta desokupazio beti aktibo eta energetikoaren arteko harremana batzen dute eta baita ordena eta berezko ekintza informalenaren arteko elkarrizketa ere. Gertakariei erantzun eta gertakariak gogorarazteko gai den eraikuntza. Gertakizunak nabari diren hizkuntza. Ez da bakarrik testuen itzulpen
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