Lizaso RE FLEXIÓN Lizaso RE FLEXIÓN Curator of the Exhibition / Comisario De La Exposición Erakusketaren Komisarioa José Julián Bakedano
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lizaso RE FLEXIÓN lizaso RE FLEXIÓN Curator of the exhibition / Comisario de la exposición Erakusketaren komisarioa José Julián Bakedano Edition / Edición / Edizioa LIZASOART S.L. Sponsors / Patrocinadores / Babesleak Ayuntamiento de Basauri. Diputación Foral de Bizkaia. Guivisa. Collaboration / Colaboración / Lankidetza Sala Rekalde Introduction text / Texto introductorio / Aurkezpen testua José Julián Bakedano Main text / Texto principal / Testu nagusia Iñigo Sarriugarte Translations / Traducciones / Itzulpenak Irene Hurtado (euskera), David Passingham (inglés) y Greg Ramirez (inglés) Photographs / Fotografias / Argazkiak Tom Hennley, Javier López Fabian, Dembora, Jesús Lizaso, Pedro Kareaga, Amaia de Benito, Borja Elorza. Graphic design and layout / Maquetación y diseño Maketazioa eta diseinua Tom Hennley Paper / Papel / Papera ???????????? Font / Tipografias / Letra-tipoa Georgia, Caslon y Century Gothic Print / Impresión / Imprimaketa mccgraphics Scoop ISBN 13 978-84-608-6628-2 D. L. BI-xxxx-xx Exhibition / Exposición / Erakusketa Sala Rekalde, Bilbao. 29.01.2016 - 01.05.2016 © Jesús Lizaso - LIZASOART S.L. lizaso RE FLEXIÓN EN 6 “Me muestro tal y como soy, y quienes quieran conocerme conocerán mi obra.” Jesús Lizaso EN Re flexión ( José Julián Bakedano) 10 An evolution in the artifices of matter (Iñigo Sarriugarte) 28 Prologue 30 Biographical strokes and creative precept in public sculpture 34 Evolutionary synthesis of his artworks and main contributions of his latest proposals 76 Una evolución en los artificios de la materia (Iñigo Sarriugarte) 110 Prólogo 112 Retazos biográficos y precepto creativo en la escultura pública 116 Síntesis evolutiva de la obra plástica y principales aportaciones de sus últimas propuestas 158 Bilakaera materiaren artifizioetan (Iñigo Sarriugarte) 192 Hitzaurrea 194 Zati biografikoak eta sormen aginduak eskultura publikoan 198 Obra plastikoaren eboluzio sintesia eta bere azkenaldiko proposamenen ekarpen nagusiak 236 Works in exhibition / Obras en exposición / Erakusketako lanak 260 re JOSÉ JULIÁN BAKEDANO EN 10 EN José Julián Bakedano Sarrionaindia. (Durango, Bizkaia, 1948). Film director and screenwriter, critic of art, literature and film. Director y guionista de cine, critico de arte, de literatura y de cine. Zinema zuzendari eta gidoilaria, artea, literatura eta zinema kritikaria. 11 RE FLEXIÓN ¿FOTO INAGURAL? EN 12 BIOGRAPHICAL STROKES AND CREATIVE PRECEPT IN PUBLIC SCULPTURE ¿FOTO INAGURAL? EN 13 RE FLEXIÓN The vocational training of Jesús Lizaso in the mastery of materials, iron and steel, wood, stone and concrete, clay… has not only furnished him with the ingredients for experiment but also with the technical basis necessary for sculptural creation. Lizaso’s first aesthetic commitment was to ceramics, an art mistakenly deemed to be minor or of a secondary nature, and in this practice he You need not see what someone is doing achieved various international to know if it is his vocation, awards. During the same period he you have only to watch his eyes: also devoted himself to etching. a cook mixing a sauce, a surgeon making a primary incision, The awakening of his calling as a a clerk completing a bill of lading, sculptor took place in 1991 as he wear the same rapt expression, stood transfixed before a sculpture forgetting themselves in a function. by Giacometti in the Museum of How beautiful it is, Fine Arts in Bilbao. Afterwards he that eye-on-the-object look. EN produced a great number of public works conceived as a combination of different materials, until the series W.H. Auden of Ortotropías sculptures appeared, Horae Canonicae / 3. Sext I leaving behind the artist’s emerging approach and revealing a more refined take on his activity. His most recent production, which is being presented in Sala Rekalde, displays a move away from the symbolic and the anthropomorphic and, inheriting the experimentation of his earlier stages, is made up of a set of self-referential sculptures, whose meaning exhausts itself in the actual form they take. Their morphology no longer points to manufactured pieces or to elements derived from nature, although the stamp of crafts that handle materials such as wood or iron always remains. The absence of metaphor here continues. 14 JOSÉ JULIÁN BAKEDANO Lizaso received his first visual sculptural impact in 1983 when, on observing the plasticity of clay, he glimpsed the possibility of bending material. He was twenty-two years old when a cousin of his showed him a book on Henry Moore that laid seeds of commitment that would go unnoticed until crystallizing in the Giacometti anecdote recounted above. Over eight years his ceramic work showed the influence of Basque tradition and he participated on behalf of the Basque Country at fairs in the Spanish State. In this period, he met a dealer at one of his shows who undertook to represent him on condition that he produced only single works. Jesús travelled with him to the United States where he had the chance to gain a first-hand acquaintance with contemporary art. Just as almost all the sculptors of the last century, Lizaso is self-taught and gained his training from viewings and from studying great creators, both early and modern. After that phase he began to devote himself to sculpture and produced an important public work. In 2010 he obtained the gold medal at the Florence Biennale, in which seventy countries and more than seven hundred artists took part. Lizaso says he has two tools to create with: inspiration, which needs to flourish at liberty; and investigation. Maturity as an artist now brings him responsibility both in the personal and the public sphere, where he puts his EN mastery of materials to work to achieve an occult style that stems from its primitive origin, the vision of deformed clay. So there is an evolution that comes from his life path and his attraction for modelling. Lizaso is impassioned by Brancusi, Giacometti and Christo, and feels estranged from the worlds of university, galleries and politics, not to mention that of scholarships. He is not an institutional artist, and all that he does arises from an inner need, from what he calls “solid poetry”, which is why he has always felt at a remove from any constraints produced by the demands of commissioned work. In this show at Sala Rekalde we are able to view a collection of the sculptor’s latest productions. The works take us to the origins and most recent stimuli that led to their production. Those that bear the title Pilastra take us to the universe of architecture, while Mesa de los caballeros, Plano contenido, Sugea and Corte de taco carry us to the world of impossible figures. Where the drive to create is most in evidence is in Huella del tiempo; it stems from the children’s game where you are dared to walk on the train lines, and this is the only piece that opts for the incorporation of a collage of materials. 15 In other works he reveals a desire to pervert the materials, as can be seen in Dosificación de la materia, whose sturdy steel appearance conceals its hollow; or he draws together two apparently contradictory materials to achieve an unlikely harmony, as occurs in Abrazo plástico or Marco industrial. Although all his sculptures have an abstract appeal, certain pieces hint at concrete experiences; this is the case of Engranaje ocular, in which in the bending of the steel there appears a series of symbols of industry which, on the one hand, references his background in the manufacturing environment and, on the other, his commitment to the class struggle. In all of Lizaso’s works there is an obsession to generate a balance in the apparent instability of the materials. This tension between elements is 3 reflected in Gravedad , Matemática del desorden and Fíbula, just as there is a dialectic between the refusal of order and the control of disorder. His search for harmony, meanwhile, is fully evident in pieces such as Retracción, Replegado and Bucle ascendente, which show greater styling in the modulation of the wood. If, as Ernest H. Gombrich holds, there is no linear evolution in the History of Art and each period maintains levels that are only overcome by particular individuals, let us trust that this exhibition constitutes one more EN step for Lizaso in going beyond those limits. José Julián Bakedano 16 EN 17 RE FLEXIÓN La formación artesanal de Lizaso en el dominio de los materiales, hierro y acero, madera, piedra y hormigón, arcilla… le ha posibi- litado, con su componente expe- rimental, la base técnica necesaria para la creación escultórica. La primera dedicación estética de Li- zaso fue la cerámica, ese arte equi- vocadamente considerado menor o secundario, en el que consiguió diferentes premios internaciona- No hace falta ver lo que alguien está haciendo les, en paralelo a la dedicación al para saber si es su vocación, aguafuerte. sólo hay que mirar sus ojos: un cocinero preparando una salsa, un cirujano El despertar de su vocación como haciendo una incisión primaria, escultor surge en 1991 cuando un funcionario completando una hoja de embarque, contempla ensimismado una escul- muestran la misma expresión extasiada, tura de Giacometti en el Museo de olvidándose de sí mismos en una función. Bellas Artes de Bilbao. Desde en- Qué hermosa es tonces ha realizado numerosa obra esa mirada del ojo-en-el-objeto. ES pública concebida como combina- ción de diferentes materiales hasta la aparición de las llamadas Orto- W.H. Auden tropías, una serie de esculturas que Horae Canonicae / 3. Sexto I abandonan el carácter emergente y revelan un quehacer más depurado. Su producción más reciente, que es la que se presenta en Sala Re- kalde, manifiesta una huida de lo simbólico y de lo antropomórfico y, heredera de la experimentación de sus etapas anteriores, constituye un conjunto de esculturas autorrefe- renciales, cuyo significado se agota en su propia forma.