04 Uribe Kosta In.Pdf

© Author: Xabier Sáenz de Gorbea • Editor: General Office of Turist Promotion • Design and photographs: Sonia Rueda • Printing: Flash Composition S.L. • Legal deposit: BI-2701-07 1. Jose Ramón Carrera (1935) “The Footprint of a Basque Soldier” (c. 1980) 2. Jose Ramón Carrera (1935) “Irune” (c. 1980) 3. José Luis Pequeño (1941) Untitled (1979-1980) 4. Xabier Egaña (1943) Untitled (1986) 5. Higinio Basterra (1876-1957) “Charity” (1914) 6. Achille Canessa (1856-1905) Pantheon of the Sabino de Arriaga family and the Ereñozaga brothers 7. Higinio Basterra (1876-1957) Pantheon in the cemetery at Plentzia 8. Moisés de Huerta (1881-1962) Monument to Enrique Areilza (1926) 9. Ibon Garagarza (1975) “Ibilbide” (Footpath) (2002) 10. José Ramón Anda (1949) “Belak” (Sails) (2000-2001) 11. Néstor Basterretxea (1924) Monument to Txakoli (2007) 12. Javier Bengoa (1953) Askada Viewpoint (2004) 13. Néstor Basterretxea (1924) “Matxitxakoko Guda” (The Battle of Matxitxako) (2007) 14. Jesús Lizaso (1961) “Amatxo” (Mother) (2002) 15. Ángel Garraza (1951) “Stele to Lauaxeta” (2005) 16. Alex Mosterín (1973) “Over the Sea” (2003), “Lauaxeta” (2005) 17. Ángel Garraza (1950) Untitled (1992) 4. URIBE KOSTA The community of Uribe Kosta is made up of the munic- ipalities of Berango, Sopela, Barrika, Urdúliz, Plentzia, Gorliz and Lemoiz, to which Laukiz and Mungia are added, since they have historically formed part of the same territorial entity. The itinerary of artistic works is extensive, like the territory they stand in. A large and diverse structure, between the sea and the interior. The artists represented in this region are Basque, with the exception of the Italian Achille Canessa (1856-1905). They range from the pioneers of the modern tradition of art in the Basque Country, such as Higinio Basterra (1876-1957) or Moisés de Huerta (1881-1962), to those who emerged after the Civil War, as in the case of Néstor Basterretxea (1924), Jose Ramón Carrera (1935), José Luis Pequeño (1941), Xabier Egaña (1943), José Ramón Anda (1949), Án- URIBE KOSTA gel Garraza (1950), Mikel Lertxundi (1951) and Jesús Lizaso (1961). Three quite infrequent presences to be highlighted are those of the architect Javier Bengoa (1953) and the young sculptors Alex Mosterín (1973) and Ibon Garagarza (1975). The motifs of the works are very varied. There are trib- utes to renowned personalities, like Doctor Areilza or the poet Lauaxeta. Allegories of values, like to one de- voted to charity beside religious funerary pantheons. Historical references to the conflicts of the Basque people and allegories to places and jobs can be seen. This is in addition to functional works, sculptural re- search and accessible mural paintings. Large-scale heavy works are side by side with the low profile and long distance experiments like Ibilbide, an unusual presence on the landscape. 1 José Ramón CARRERA (1935) “Irune” (c. 1980) is located beside the gate into the house and workshop of the sculptor Jose Ramón Car- rera (1935) in Laukiz. The steel protrudes from a high pedestal with a square base shaped into a truncated cone. It is aesthetically post-industrial, as if somewhat deteriorated and in the process of dilapidation. It is like an outdated, disused tool. The structure is uneven and its components are indistinct. The shapes are sharp and are secured to the common cylinder that acts as a guide for movement. A dynamic quality that allows the interaction of the spectator, who is invited to take part. This means making contact with the surfaces and shapes, as well as arous- ing the creative imaginary by providing a great deal of expressive possibilities. An open work given to continual variation. URIBE KOSTA Laukiz “Irune” (c. 1980) 2 José Ramón CARRERA (1935) Jose Ramón Carrera (1935) is an author who, without ceasing to study space, transfers the dimension of time to sculpture. The piece stands in front of his former house and workshop, situated on the road down from Umbe to Laukiz. It is made of iron and shows the signs of the past on its volumes and surfaces. It does this by exhibiting eroded shapes. The wear is organic, as if naturally acquired. The textures are varied, a whole range. Some have prominent edges while others are porous. In any case, they are always rough and seem to come from the terrain’s mining waste. The space is charged with the impressive presence of a matter that powerfully indicates its unfathomable deterioration. The artist has endowed it with a highly meaningful ti- tle: “The Footprint of a Basque Soldier” (La huella de un gudari) and it was created in the early 1980’s. URIBE KOSTA Laukiz “The Footprint of a Basque Soldier” (c. 1980) 3 José Luís PEQUEÑO (1941) José Luis Pequeño (1941) made the sculpture situated in Sabino Arana street in Berango, close to housing built by the BBK. The pedestal is a block of grey concrete. A series of curved structures that partially juxta- pose and superpose each other rise above the prism. An artistic development in which the artist interrelates different parts that expand in space. Very much in the aesthetic line of Jorge Oteiza, it vitalises the place with curved and concave volumes and approaches the matteric universe of Eduardo Chillida. The work is untitled, was made in 1979-1980 and measures 150 x 150 x 300 cm. URIBE KOSTA Berango Untitled (1979-1980) 4 Xabier EGAÑA (1943) Xabier Egaña (1943) is an artist from Las Arenas who has made several expressions of public art. His sculptures and pictorial or ceramic murals are located in places such as Aránzazu, Zarautz, Arrigorriaga, Leioa, Puerto Rico and Germany. The work that stands around the church of San Pedro in Sopela is made of iron and has a concrete base. It was made in 1986 and is made up of two parts which are separated from each other. The first ensemble is situated opposite the main fa- cade and a solitary piece is placed outside the apse. Two of the works form part of a large bench, arranged at an angle, that closes off the space of the square. It is like drawing in the air. The parts are made of steel that has been folded in the forge. All of them start from the cross-like composition that split to tauten a burn- ing space of arms. URIBE KOSTA Sopelana Untitled (1986) 5 Higinio BASTERRA (1876-1957) URIBE KOSTA Barrika “Charity” (1914) 5 Higinio BASTERRA (1876-1957) Higinio Basterra (1876-1957) made the sculpture for the Residencia Elorduy, the municipal home for the elderly of Plentzia and Barrika, which stands beside the road in the latter. The exceptional marble piece by the Bilbao sculptor is situated in a garden opposite the front of the institution. It was created in 1914 and is entitled “Charity”. It is a magnificent horizontal re- alisation that represents an act of mercy. It illustrates the close relationship between an emaciated old man URIBE KOSTA Barrika and an allegoric female figure that looks after him. The scene harmonises the dramatic expressionism of the man and the simplifying idealisation of the young woman. The subject is narrow and offers two very different points of view, from the front and from the rear. The artist demonstrates his mastery and has the vir- tue of outlining the shapes and volumes with gentle mouldings and accentuated chiaroscuros. “Charity” (1914) 5 Higinio BASTERRA (1876-1957) URIBE KOSTA Barrika “Charity” (1914) 6 Achille CANESSA (1856-1905) Its presence is unusual and has no comparison. The Genoese Achille Canessa (1856-1905) is an author who, in addition to as great many places in Italy, has sculptures in cities as distant as Santa Cruz de Ten- erife, Sao Paulo, Caracas or Newport (USA), and some of his models were used by other authors. One of his realisations, the pantheon belonging to the Sabino de Arriaga family and the Ereñozaga brothers, can be seen in the cemetery at Plentzia. It is a modernist figure with a plentiful floral presence. The angel is young, asexual, arches its wings and shows slight mobility. Its leftward gaze shrinks from whoever observes it. While the arms are arranged on the right, the legs are situated in two planes. The tunic has diagonal folds that finish in a set of curves. Its sweetness, delicacy, balance and harmony are indubitable. URIBE KOSTA Plentzia Pantheon of the Sabino de Arriaga family and the Ereñozaga brothers 7 Higinio BASTERRA (1876-1957) Higinio Basterra (1876-1957) created a religious work in the cemetery at Plentzia. The pantheon bears the intertwined initials UA, is large and has a rectangular plan view. It is bounded by a long frontal wall and by sets of low side railings. A space is formed at ground level which provides access to the steps leading down to the crypt. In the centre of the headpiece there is a high pedestal where a white marble sculpture is arranged. The sculptor uses a compact block that forms a triangular structure. En- graved inside the geometric shape is the central figure, that shelters female and male figures, one on each side. The Virgin is higher up and a sor- rowful San Juan (St. John) is lying on the ground. URIBE KOSTA Plentzia Pantheon in the cemetery at Plentzia 8 Moisés HUERTA (1881-1962) The bust dedicated to the doctor Enrique Areilza (1860-1926) stands with its back to the sea and fac- ing the Maritime Sanatorium in Gorliz, a project that was launched at the request of the said physician. The sculpture is the work of Moisés de Huerta (1881-1962) and was carried out in 1926, although the model dates from 1920.

Load more