I. Thirty Years on from Elogio Del Horizonte Héctor Blanco II

I. Thirty years on from Elogio del horizonte Elogio del horizonte, looking to the future

I. Thirty years on from Elogio del horizonte Héctor Blanco II. Elogio de Gijón Luis Miguel Piñera

Text Héctor Blanco and Luis Miguel Piñera

Photographs and additional graphic documentation Alejandro Braña Alberto Cobo Ana Muller Archivo Eduardo Chillida Archivo Municipal de Gijón/Xixón Divertia Gijón Jesús Uriarte Juan Carlos Tuero Juanjo G. Arias Museo Casa Natal de Jovellanos Muséu del Pueblu d’Asturies (fondo La Voz de Asturias) Vegafer

Asturian translation Fundación Municipal de Cultura, Educación y Universidad Popular de Gijón/Xixón. Oficina de Normalización Llingüística

Organiser Fundación Municipal de Cultura, Educación y Universidad Popular de Gijón/Xixón Jesús © Jesús Uriarte

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Elogio del horizonte, looking to the future

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«I believe it is a miracle that something as natural as this place has been preserved».

Eduardo Chillida after his first visit to L’Atalaya on 28 October 1987

I. Thirty years on from Elogio del horizonte

The Headland

The Santa Catalina Headland Park and the Elogio del horizonte (Eulogy to the Horizon) sculpture were inaugurated on 9 June 1990. This event put an end to a long-standing local demand: the restitution of the Headland to the citizens and an end to Gijón’s isolation, fuelled by its militarisation in the 19th century. Given its semi-insular condition, height and surrounding terrain, originally a sandy plain and marshland, Santa Catalina Headland, was pivotal in the decision

made two millennia ago to establish the city of Gijón on the southern shore. The 3 4 top of the Headland, known as L’Atalaya, was used over the centuries as a lookout to 5 scan the horizon for the riches or dangers coming from the sea, crucial factors for local life in the 19th century. In the wake of the Spanish-American War, the decision to build the Santa Catalina artillery battery in 1898 turned L’Atalaya into a restricted military zone. The recovery of this land for public use has been a recurrent demand since the early 20th century. Its restitution was agreed in October 1931, during the 2nd Republic. However, following the October Revolution in 1934, it was once again designated a military site. Following a number of failed attempts since the 1960s, the Socialist mayor, José Manuel Pacheco, finally secured the restitution of the Headland. On 26 February 1982, the City of Gijón took over the land following the payment of 25 million pesetas to the Ministry of Defence. It could be argued that the history of Elogio del horizonte began that day.

1. The former shrine of Santa Catalina became the lighthouse keeper’s residence, ca. 1890. Colección Patac. Gijón Municipal Archive 2. Gijón’s city model ca. 1820. Gijón Port Authority 3. Santa Catalina Headland, ca. 1890. Muséu del Pueblu d’Asturies 4. View of L’Atalaya from the outer harbour, 1884. Nemesio Martínez Sienra 5. Detailed drawing of Gijón by Diego de Cayón, 1819. Jovellanos Birthplace Museum

Elogio del horizonte, looking to the future

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«My working process always leads to a dialogue between the two, between solid and void»

Eduardo Chillida, 1990

I. Thirty years on from Elogio del horizonte 6. José Manuel Palacio at the Headland’s public opening ceremony (7 March 1982). VEGAFER 7. Vicente Álvarez Areces and Eduardo Chillida at the unveiling of Elogio del horizonte (9 June 1990). Juan Carlos Tuero. Muséu del Pueblu d’Asturies Genesis 2

6 The co-author of the project, the The urban development plan for the six hectares (61,100 m2) of land was determined architect Francisco Pol Méndez, is following the acquisition of the Headland. The project designed by the architects widely recognised as the person who José Luis Martín and Francisco Pol envisaged the inclusion of a unique sculpture. pushed to have one of Eduardo Chillida’s works placed on the Headland. He also The proposal was made to Eduardo Chillida in 1986. participated in the project to carry out a At that time, the artist had long been looking for a coastal promontory for his new comprehensive renovation of Cimavilla district, a process that involved major sculptural work, Elogio del horizonte, but had not found a suitable place yet. archaeological excavations and the The year 1987 was a turning point. This initiative was further strengthened when transformation of the local harbour into the Basque sculptor was granted the Prince of Asturias Award. Meanwhile, the election a marina. 3 José Manuel Palacio Álvarez of Vicente Álvarez Areces as Gijón’s Mayor paved the way for an agreement with the (1930-2005), the first democratically Vicente Álvarez Areces, Tini Areces, Caja de Ahorros de Asturias and the Regional Ministry of Culture of the Principality to elected mayor of Gijón from 1979 to (1943-2019) was the mayor of Gijón from 1987 following the end of Franco’s 1987 to 1999. The city’s far-reaching co-finance the work. dictatorship. urban transformation, in line with On 28 October of that year, Eduardo Chillida went to Gijón for the first time and During his eight years and two months the guidelines set out during the first in office, Gijón entered the 21st century saw the L’Atalaya. In his words, that place was “extraordinary and amazing”. half of the 1980s, occurred during his in urban development terms. Ramón tenure. Years of significant investments The agreement to proceed with the project was approved by the municipal plenary Fernández-Rañada, an urban planner -financed mainly with EU Structural on 12 August 1988. The process to build the sculpture between the summer and autumn and architect, played a pivotal role in and Cohesion Funds-, negotiating skills, building a technical team of exceptional positive outcomes and, advances paved of 1989 was implemented in the following months. specialists. Gijón’s General Urban the way for a new era. The works to create the park were carried out simultaneously. Chillida decided at Development Plan, better known as Indeed, Elogio del horizonte became 4 Plan Rañada, was adopted in late 1985. that time not to develop the summit of the Headland. Likewise, the Gigia homeowners’ a symbol of modernity, the emblem of The plan became effective in 1986, Gijón that sought to reinvent itself and association managed to avert the construction of several proposed buildings to keep as immediately before the shock caused be reborn. much green area as possible. by the shipwreck of the Castillo de Salas. The Headland could only be a public park.

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1. The Headland with the works in the park underway, ca. 1988. Francisco Pol / José Luis Martínez 2. Preliminary design of the Santa Catalina Park with the Elogio del horizonte, 1986. Gijón Municipal Archive 3. Model of the first design of Elogio del horizonte, ca. 1985. Courtesy of Sucesión de Eduardo Chillida y Hauser & Wirth. © Zabalaga Leku. Gijón, VEGAP, 2020. Eduardo Chillida Photo Archive 4. Francisco Pol with Eduardo Chillida, ca. 1987 Juan Carlos Tuero. Muséu del Pueblu d’Asturies 5. Final model of Elogio del horizonte, 1989. Courtesy of Sucesión de Eduardo Chillida y Hauser & Wirth. © Zabalaga Leku. Gijón, VEGAP, 2020. Photo Alberto Cobo

Elogio del horizonte, looking to the future

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«My life revolves around the verbs search, doubt, ask».

Eduardo Chillida on his 75th birthday - 10 January 1998

I. Thirty years on from Elogio del horizonte

Eduardo Chillida Juantegui (1924-2002)

Born in Donostia/San Sebastián, an injury at age 18 derailed a promising career in the Real Sociedad FC. In 1943, he moved to Madrid to train as an architect. However, he dropped out of college in 1947 to focus exclusively on drawing and sculpture. In 1948, he moved to Paris attracted by its creative image. However, the city did not live up to his expectations. In 1951, he returned to the Basque Region with his wife, Pilar Belzunce, whom he had married a year earlier. He settled in the town of Hernani (Guipuzcoa) and started to work at Manuel Illarramendi’s forge, with whom he trained in ironwork. The experience soon yielded a creative result. In that same year, Chillida produced his first abstract sculpture, Ilarik, made of iron and wood. Before the end of the 1950s, he began to receive international recognition. His works were increasingly presented in art galleries and museums in Madrid, Paris, London, Milan, New York and Chicago. In 1958, he was honoured at the Venice Biennale with the International Sculpture Award. He received numerous awards over the years, including the Kandinsky Award (1960), the Imperial Award of Japan (1991), and the Prince of Asturias Award for the Arts (1997). Throughout half a century of a creative career, Eduardo Chillida sought to merge seemingly opposing concepts, which he transformed into effective symbiosis through his works: solid and void, light and darkness, limits and boundlessness. He also used different materials –wood, iron, stone, alabaster, steel and concrete–, not as an end in and of itself, but rather as a resource to enrich the expression dimension of his works. In many cases, material and form were the outcome of lengthy processes Starting in the 1970s, he took on an increasing number of commissions for public of study and evolution. That being the case of Peine del Viento (Wind Comb), one sculptures, resulting in a greater presence in several cities throughout the world. of his most well-known works. Chillida worked on it for over 15 years until it Among these, Elogio del horizonte would prove to be one of the most prominent and materialised in 1977 on the coast of his home town. well-known, and a favourite of Chillida. In 1999, the Guggenheim Museum in Bilbao organised a retrospective to commemorate the artist’s 75th birthday. This exhibition, which built on an earlier The other Elogios one set up by the Museo Nacional Centro de Arte Reina Sofía, was the most Although the Elogio del horizonte in Gijón significant to date. is the best known, Chillida created other Elogios dedicated to other core elements The Chillida-Leku / Chillida House opened in September 2000 in Hernani. A personal in his works: Elogio del agua (Eulogy to water), Elogio del hierro (Eulogy to iron), as project of the artist and Pilar Belzunce for which they bought the Zabalaga farmhouse

well as the Elogio de la luz (Eulogy to light) in 1984. This project focuses on the dissemination of the artist’s work with a Eduardo Chillida with Elogio del horizonte during the design and Elogio de la arquitectura (Eulogy to and construction phases and once completed. architecture) series. representative selection. © Jesús Uriarte His last meaningful proposal, which never moved beyond the project stage,

Elogio del agua, Creueta del Coll Park, Barcelona. consisted in emptying the Tindaya Mountain in Fuerteventura (Canary Islands). Courtesy of Sucesión de Eduardo Chillida y Hauser & Wirth. © Zabalaga Leku. Gijón, VEGAP, 2020. Eduardo Chillida Photo Archive His work has received unanimous recognition as an essential legacy to Spanish sculpture in the second half of the 20th century.

Elogio del horizonte, looking to the future

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«Many people do not realise that the Elogio is a rebellion against gravity».

Eduardo Chillida

I. Thirty years on from Elogio del horizonte

Building the Elogio 2

It should be noted that Elogio del horizonte is literally a construction. Unlike traditional sculptures that are carved, moulded and cast directly by the author, this is an architectural work. Eduardo Chillida’s work involves the individual efforts of multiple artisans including carpenters from the Bereziartua woodworking shop who made the formwork in Hernani -and was later transported to Gijón. The sculptor Jesús Aledo made the full-scale, expanded polystyrene (EPS) formwork. The work by the civil engineer, José Antonio Fernández Ordóñez, was also pivotal. He provided the structural calculations and determined the composition of the concrete used for the work based on Chillida’s guidelines. The Elogio del horizonte, which is 10 metres high, 15.5 metres long, 12.5 meters wide and 1.40 meters thick, required 200 cubic metres of concrete and a 20-metre deep pile foundation to ensure adequate support for the 500-ton sculpture. Entrecanales y Távora was commissioned to produce the sculpture in the late summer of 1989. Chillida approved the work that same year on 30 October. However, he did not consider the work completed as the sculpture still lacked the patina that the ocean and wind would take years to achieve. Three decades later, the sculpture, aground on the edge of the abyss, has taken on a patina and achieved the status of a modern totem and symbol of Gijón. Its most notable contribution is that you can hear the sound of the Cantabrian Sea (Bay of Biscay) amplified inside the sculpture as if it wished to

reveal its secrets. 3 4

1. Jesús Aledo (left) and his assistant building the EPS model. 1 © Jesús Uriarte 2. Eduardo Chillida with models of Elogio del horizonte at different scales. © Jesús Uriarte 3. Eduardo Chillida with Bereziartua workers. © Jesús Uriarte 4. José Antonio Fernández Ordóñez with Pilar Belzunce and Eduardo Chillida. © Jesús Uriarte

Elogio del horizonte, looking to the future

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«Let’s us pursue Peace in the horizon, the homeland of humankind». Eduardo Chillida

I. Thirty years on from Elogio del horizonte

«Elogio del horizonte was not born on the Headland, «I saw it at night. On a but could only be on the Headland». clear, moonlit night, I felt

Mikel Chillida, Eduardo Chillida’s grandson, 2020 immersed in a sacred place».

Antonio López, painter and Príncipe de Asturias Award for the Arts, 1989

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«Time will be the best judge of this great work that is impressive from within the self, not just its aesthetics, but also the sound».

Laureano Tuero, journalist, 1989

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1. Final model of Elogio del horizonte. © Jesús Uriarte «It gives human meaning to space from the place where it 2 & 3. Building the full-scale EPS model and Chillida standing under the completed model. © Jesús Uriarte stands. Land, sculpture and sea participate in dialogue with 4, 5 & 6. Building the formwork around the EPS model. © Jesús Uriarte the present and the future». 7 & 8. Removal of formwork. © Jesús Uriarte 9. Unveiling of Elogio del horizonte on 9 June 1990. © Jesús Uriarte Alejandro Mieres, painter, 1999 10. Elogio del horizonte after the unveiling. © Jesús Uriarte

Elogio del horizonte, looking to the future

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«There is something about these public sculptures, or whatever you want to call them, that attract me greatly (...), they belong to everyone».

Eduardo Chillida

I. Thirty years on from Elogio del horizonte List of works by opening date (1990-2010):

Elogio del horizonte, Eduardo Chillida (1990). Santa Catalina Park. Monumento a la Paz Mundial, Manuel Arenas (1990). Public sculpture in Gijón El Lauredal Park. Metamorfosis, Pedro Sanjurjo, «Pieycha» (1991). Madres de la Plaza de Mayo Park (destroyed) Public sculptures enjoyed a remarkable debut in Gijón in 1891 with the unveiling (2) Obelisco, Joaquín Rubio Camín (1992). Begoña Avenue (destroyed) of the Pelayo and Jovellanos statues. However, only two additional monuments Génesis, Joaquín Rubio Camín (1992). were built until 1936: one to Evaristo Fernández San Miguel (1922) and the other to Begoña Park. Escalada, Pablo Maojo (1992). Manuel Orueta (1927). La Guía Sports Centre. From the post-war period to the 1980s, with a few exceptions, municipally funded Nordeste, Joaquín Vaquero Turcios (1994). On the way up to Santa Catalina Headland. sculptures were primarily built in line with the traditional aesthetics for public Paisaje germinador, Miguel Ángel Lombardía (1997). statues for Isabel la Católica Park and Parque Inglés (“English Park”). Cabo San Lorenzo Park. Homenaje a Galileo XV, Amadeo Gabino (1997). The work of Ramón Muriedas, Madre del emigrante (Migrant’s mother) (1970), Cabo San Lorenzo Park. located at El Rinconín (photo 1), challenged these dynamics. Although it was not (3) Sombras de Luz, Fernando Alba (1998). Mayán de Tierra. well received at that time, it set a meaningful precedent of contemporary sculpture. Copulaciones, Pedro Sanjurjo «Pieycha» (1998). This was followed by the Cauce series by Joaquín Vaquero Turcios (1976) next to the Madres de la Plaza de Mayo Park. (4) Andarín, Miquel Navarro (1999). highway at Serín, the sculptures at Severo Ochoa Playground in Pumarín, created by L’Arbeyal seafront promenade. Pedro Santamarta Cuenca (1983), Homenaje a la Navegación (Homage to Navigation) Homenaje a Carantoña, Joaquín Rubio Camín (1999). 1 Muséu del Pueblu d’Asturies Begoña Park. by Vicente Vázquez Canónico (1988), overlooking the entrance of the Merchant Navy Solidaridad, Pepe Noja (1999). El Rinconín Park. School and Árbol de la Vida (Tree of Life) by Juan Zaratiegui (1989), in the entrance of Torre de la Memoria, Francisco Fresno (2000). the Universidad Laboral. Moreda Park. In 1990, the City of Gijón launched a scheme to invest in public sculptures. (5) En la memoria – Na memoria, María Jesús Rodríguez (2000). Plaza de Europa Park. Throughout the next two decades, some 30 works of contemporary art were Monumento a la república, Acisclo Manzano y Xaime Quessada (2000). Carlos Marx Avenue. distributed across the city, creating a noteworthy collection. This process came to Homenaje a las Brigadas Internacionales, Amador Rodríguez (2001). a standstill in 2011. Elogio del horizonte was a pacesetter and, arguably, the most International Brigades Square. (6) Cantu los díes fuxíos, Adolfo Manzano (2001). widely known work. Punta del Cervigón. Sin título, Herminio Álvarez (2001). El Rinconín Park. La huella, Juanjo Novella (2002). Barrio de Montevil. Donated by SOGEPSA to the City of Gijón. © Divertia Gijón 4 © Alejandro Braña. Gijón/Xixón Municipal Archive 6 Confluencia, Eugenio López (2002). Los Pericones Park. Obelisco II, Joaquín Rubio Camín (2003). Constitution Avenue. Castillo de Salas, Joaquín Rubio Camín (2003). Joaquín Rubio Camín Park, Peñarrubia. Dinámica, Ernesto Knörr (2004). Pintor Manuel Medina Street. Donated by SOGEPSA to the City of Gijón. Monumento a los niños de la guerra, Vicente Moreira (2005). L’Arbeyal seafront promenade. Hacia la luz, Francisco Fresno (2010). Albert Einstein Avenue.

The Espacio exterior, series by Joaquín Rubio Camín (1990), created for the Gijón railway station, should be also mentioned here; Sentimientos, by Manuel García Linares (1999), overlooking the Guía Bridge; Germinación, by Joaquín Vaquero Turcios (2006), located at Doctor Fleming Avenue; and Centenario, by Pablo Maojo (2007), located at El Musel harbour. These works were commissioned, respectively, by RENFE, Ministry of Public Works, Gijón Chamber of Commerce and Gijón Port Authority. 2 © Alejandro Braña. Gijón/Xixón Municipal Archive 5 © Alejandro Braña. Gijón/Xixón Municipal Archive 3 © Alejandro Braña. Gijón/Xixón Municipal Archive

Elogio del horizonte, looking to the future

Design: @juanjareno Design: + info: museos.gijon.es Design: @juanjareno 8 1 + info: museos.gijon.es Elogio del horizonte, lookingto the future Before andafter theElogio II. Elogiode Gijón 5. 4. 3. 2. 1. centre inthefuture. in progress at theformer Tobacco Factory, which willbe turned into alarge cultural revealed thelayout oftheancient wall . ARoman bath museum was built onsite. Work adopted withbroad-based people’s participation typical of Gijón. in its history, thecity had abalanced global design, thanks to RañadaPlan, theso-called one ofmany changes brought about by the1982 urban development plan.For thetime space now transformed into apark. Therestitution ofSanta Catalina Headland was sculpture was installed, many Gijon citizens visited, for thefirst time, this exceptional Eduardo Chillida on9June 1990. by theunveiling oftheElogiodel horizonte (Eulogy to theHorizon) sculpture by 3 April1979. Thus began aprocess to moderniseGijón, which, inasense, was symbolised The democratisation ofallSpanish municipalities began withthemunicipal elections of Roman wall, 1988. Tuero Juan Carlos Protests against ban1985. the onstreet Tuero Juan of Carlos selling milk, Municipal Fish Market, 1987. Tuero Juan Carlos la Villa, de 1987. Tuero Juan at Carlos Puerta Flooding Mayor,Plaza 1987. Tuero Juan Carlos Archaeological excavations conducted at Cimavilla to research its Roman past The city had acquired LaAtalaya, until thenamilitary enclave. Once Chilida’s 2 3 5 4 Design: @juanjareno 9 1 + info: museos.gijon.es Elogio del horizonte, lookingto the future New coast II. Elogiode Gijón 5. 4. 3. 2. 1. Talasoponiente. rediscovered coastline, including theGijón Aquarium orthethalassotherapy centre 500 and300 metres ofbeachfront to thecity. district, andArbeyal, areclaimed beach inLaCalzada. These beaches add, respectively, long sandy beach, and,since 1995, Poniente, ahuman-made beach next to Natahoyo take very longwalks, even to themunicipal boundary, withoutlosingsight ofthesea. Providencia, Cabo deSan Lorenzo andother) andnew beaches. Itwas now possible to was cleaned, renovated, enhanced andpedestrianised, even withnew parks (La which was transformed into amodernmarina.Step-by-step, theentire coastline Firstly, theold Dock, withits charming, but declining fishing activities and market, an essential benchmark. Jovellanos, who grew upalways looking toward theCantabrian Sea (Bay ofBiscay), as to thesea and Jovellanos». Certainly, Gijón has had andstillhas, Gaspar Melchor de Jovellanos, stated that «thecity ofGijón owes thesea to God,andeverything itis In hisbook, LavilladeGijón(1954), Justiniano García Prado, aprofessor at Instituto Arbeyal 1984. Tuero Beach, Juan Carlos Muro Lorenzo. San de Tuero Juan Carlos Muelle Oriente, de Tuero 1885.Juan Carlos toAdding sand Poniente 1998. beach, Tuero Juan Carlos Lorenzo atRemoving grounding San the Salas de coal after of 1987. Castillo beach, the Tuero Juan Carlos The city continued to add attractive facilities tied to thesea to this reclaimed and The downtown area now has three vast beaches: San Lorenzo, amarvellous, 2-km Over thelast two decades ofthe20th century, Gijón renovated its coastal spaces. 3 2 5 4 Design: @juanjareno 10 4 1 + info: museos.gijon.es Elogio del horizonte, lookingto the future Gijón, public andorderly II. Elogiode Gijón 5. Intersection of Gaspar García Avenue, StreetLlano El Laviana and 1987 4. work at3. Construction Covadonga 1980. Tuero Juan Street, Carlos 2. 1. was demolished in1990. shantytowns, such as ElLlanoandTremañes, completely. Thelast shanty inGijón Paseo deBegoña. the area around thenow-defunct LosFresno football stadium, reaching as far as lacked public facilities andservices, as was thecase ofLaSantina. Theplancovered highly degraded area of70,000 square metres withsubstandard housing, which The Collector outlet pipes atCollector outlet pipes Arbeyal 1980 ca. beach, VozLa Archive Asturias de work atConstruction Náutico. El d’Asturies. MuséuPueblu del 1987, 1987. shantytown, Santina Tuero Juan Carlos Similar planswere implemented inotherareas ofthecity, inaquest to eradicate El LlanoPERIwas launched in1985. Thisad-hoc plansought to renovate a 3 2 5 vehicles andservices. committed to technological innovation and public transport withsufficient quality an urban transport system based onnew urban mobility concepts. Theservice is democratic change. service isprovided by EMULSA, anothervaluable municipal company created after the domestic waste was developed, including for street cleaning andmaintenance. This underwater outlets. completed withtheconstruction ofwater treatment plants (onestillpending) and crosses ElLlano, amongothers. Acomplicated andcostly infrastructure that was Street to Castilla Avenue; at Coto deSan Nicolás; andanotherat Cutis River that year: inthewest, from ElNatahoyo to ElMusel; at San Lorenzo beach, from Ezcurdia administrations. launched inApril1991, withthebroad engagement oflocal, regional andstate of thewater consumed began much later. Acomprehensive sanitation planwas creation oftheEMA,municipal water utility. Proper management andtreatment continued supply ofquality drinking water was possible only in1965 afterthe Meanwhile, EMTUSA, created at thesame timeas EMULSA, iscrucial for providing In addition to water collection andtreatment, theinfrastructure needed to manage A number ofcomplex works to build large water collectors began thefollowing The historical lack ofdrinking water was alsoalmostcompletely solved. The Design: @juanjareno 11 2 + info: museos.gijon.es Elogio del horizonte, lookingto the future Building knowledge II. Elogiode Gijón facilities andcultural services. departments, as well as othereducational to house theuniversity classrooms and the changed, acomprehensive renovation of and Viesques. Later, when thecircumstances Sciences schools onpublic landat Cabueñes Marine, Industrial Engineering andBusiness This plansought to have thenew Merchant underlying ad-hoc planwas created in1987. developed around three decades ago. The Gijón’s Universidad Laboral was carried out university campus began to be 1 3. took2. In 2001,charge of of Government the Asturias former the d’Asturies. Universidad Pueblu Muséu del building. of Laboral’s Principality the 1. bring life to thearea today. local economy withapromising future. Over twenty entities and15,000 people intermingle, isknown as theKnowledge Mile.Ithas become acore element ofthe where technological facilities andservices for university andbusinesses authority who played aprominent role. Spanish institutions, given that itbenefited from ofthelocal thesupport underscored its success. Gijón’s experience was unlike that ofothersimilar The spectacular growth ofthisoptimalcomplement for thebusiness sector reinforced theentrenchment oftheuniversity campus as aspace for knowledge. Heritage Site status. protection, theCity ofGijón very recently approved to apply for UNESCO designated aSite ofCultural Interest in2016. Inaddition to thisrecognition and University Campus and Merchant Marine School. Muséu del Pueblu d’Asturies. La Voz La Archive Merchant and Campus d’Asturies. University MuséuPueblu del Asturias School. de Marine VozLa Archive Asturias de Trade Voz La Archive d’Asturies. MuséuPueblu del Asturias School. de This privileged architectural ensemblesurrounded by beautiful landscape, The creation oftheScience andTechnology Park nearby significantly The large Luis Mora building, built inthemid-twentieth century, was World 3 Design: @juanjareno 12 1 + info: museos.gijon.es Elogio del horizonte, lookingto the future tool for growth andcultural andsocialtransformation. education through courses andworkshops. Ithas been apowerful andhighly valued (unified in 1993) and Jovellanos Theatre. promoter, organising events through theFundación deCultura, Universidad Popular private associations andentities. However, theCity ofGijón has always been themain significantly. These activities have been promoted by both public institutions and and international media. concerts by A-list rock stars have placed Gijón inaprominent position in theSpanish decades ofthe20th century. TheSemana Negra (Black Week), Gijón’s FilmFestival or Gijón’s cultural dynamism andinternational exposure skyrocketed inthelast two Civic culture II. Elogiode Gijón 5. 4. 3. 2. 1.

Juan Carlos TueroJuan Carlos inGijón.Tina Turner’s concert d’Asturies Muséu Pueblu del Jovellanos Theatre following renovation. its AnaMuller. VozLa Archive Asturias de d’Asturies. Muséu Pueblu del inGijón, 1992 Dire concert Straits’ TueroJuan Carlos José Luis Garci, Film Festiival, 1989. poster. Juanjo G.Arias Taibo Ignacio Paco presenting II BlackWeek’s the Gijón’s Universidad Popular has almostfour decades ofexperience inadult Cultural andeducational activities aimed at thelocal population have increased 3 2 conservation ofthisremarkable theatre. after theprivate activity had ceased. Popular demandenabled the restitution and Coliseo (Coliseum theatre) was confiscated by theCity Council in 1989, two years the mainorganiser ofmusical, theatrical andperforming arts activities inGijón. The is, together withFundación deCultura andits Centro deCultura Antiguo Instituto, services form acompact whole. Anew, pioneering concept. Lastly, Jovellanos Theatre libraries, cultural offerings –sometimes alsosports– andsocial administrative infrastructures take onaunique dimension at integrated municipal centres, where history, disseminating artworks andpromoting andmaking reading accessible. These de Cultura. Astrong foundation for recovering andpreserving local andregional Performance by ElsJoglars. a public theatre. transformation into to celebrate its A symbolic event of Jovellanos Theatre. Temporary reopening 19 July 1990 Rebirth ofJovellanos Theatre The network ofmuseums andlibraries grew ofFundación withthesupport 650 million pesetas. The budget exceeded and Architecture. Directorate for Housing of Gijón andthe General was signed by theCity renovation agreement The comprehensive 8 October 1992 Symphony Orchestra. Principality ofAsturias works. Performance by the before therenovation Last activity at thetheatre 25 February 1993 centenarian Gijón theatre. brightest stage ofthis beginning ofthelast and Kraus who marked the the great tenor Alfredo reopens withaconcert by Jovellanos Theatre 5 May 1995 4 El Molinón, 25May 2004. PAUL McCARTNEY Jovellanos Theatre, 3November 2000. JETHRO TULL Palacio deDeportes, 21 July 1996. MARK KNOPFLER 26 June 2013, always to apacked stadium. 10 and20 years later, on15May 2003 and musician would perform again inGijón 40,000 tickets sold. TheNew Jersey El Molinón, 7May 7, 1993. BRUCE SPRINGSTEEN Again, apacked stadium. El Molinón, 5June 1996. BON JOVI during thistour. British band’s only concert inSpain El Molinón, 2July 1995. 45,000 people. ROLLING STONES 20,000 people. Las Mestas, 19 August 1993. PRINCE Jovellanos Theatre inApril1999. Dylan would perform again at the El Bibio, 8July 1993. 6,000 people. BOB DYLAN 42,000 people. El Molinón, 22 August 1992. DIRE STRAITS 28,000 people. El Molinón, 8June 1991. STING 20,000 people. Las Mestas, 11September 1990. DAVID BOWIE concert inGijón with42,000 people. El Molinón, 8July 1990. First major TINA TURNER grandes conciertos Algunos 5 Design: @juanjareno 13 7. Joaquín 1989. Tuero Juan Sabina, Carlos 6. 5. Monument to World (1990) inLauredal by Peace Park Manuel 4. 3. 2. 1. considered oneofthetop Spanish football clubs. played inthePremier League and,duringseveral seasons, was the sports icon ofthecity. Between 1977 and1997, theSporting where thelocal team Sporting deGijón play, became, arguably, The municipal ElMolinón-Enrique Castro Quinistadium, popular inalldistricts. Municipal Sports Board in1982, practising sports became facilities andinfrastructures. Following thecreation ofthe local government, who first proposed to create public sports Víctor delBusto, acouncilman in thefirst democratically-elected hundreds, ofassociations ofallsizes. recreational associations carry here. There are dozens, ifnot the Suffice it tomention theReal Grupo deCultura Covadonga and sailing, soccer…– have pioneering athletes andclubs inGijón. sports enjoyed inSpain –cycling, mountaineering, swimming, about sports ever since itbecame amass activity. Most ofthe Sports may well be Gijón’s first surname. Ourcity is passionate Red, white… andgreen Villa de Gijón cross country race.Villa Gijón 1986. de cross Tuero Juan country Carlos Voz La ArchiveArena. d’Asturies. MuséuPueblu del Asturias de TueroJuan Carlos A game of former inthe «bolos» Los Fresno 1986. field, TueroJuan Carlos Lorenzo, at training San session 2006. Sporting’s ArchiveAsturias Suárez in2014. Voz La d’Asturies. MuséuPueblu del de AdolfoMiravalles. It was Deportes renamed de Palacio MayorAreces, of Jesús Councilman Morales Gijón, with GutiérrezDaniel Granda, Vicente councilman; Álvarez in1992: la Guía, de opened which Deportes de Palacio Voz La Archive d’Asturies. Muséu Pueblu del Asturias de «Luis Llano El Alvargonzález» (1991). Pool Club Natación Santa Olaya to demonstrate theweight that + info: museos.gijon.es Elogio del horizonte, lookingto the future II. Elogiode Gijón 3 4 2 1 April 2003. periurban parks, oak groves andtheAtlantic Botanical Garden, which opened in The overall number ofpublic green spaces triplethisfigure, including forest and square metres. alone, there are sixhundred landscaped areas withatotal area ofthree million skyrocketed. Today, over seven thousand trees lineits streets. Intheurban centre with barely 200 trees inall.From 1979, thenumber ofgreen areas andtree planting There were just over ten streets tree-lined inGijón before thedemocratic change, 7 5 6 Design: @juanjareno 14 1 + info: museos.gijon.es Elogio del horizonte, lookingto the future The spirit ofGijón andits people, theirsupportive , Streets that willnotbe silenced II. Elogiode Gijón rallies for gender equality andagainst maleviolence. because they lasted alongtimeandwere highly volatile. More recently, there were movement. Themassive mobilisations inthenaval sector are well-remembered associations have taken to thestreets many times. And,ofcourse, theworkers’ libertarian spirit, isclearly apparent inits streets. Grassroots movements and combative, passionate and 2 4 3 relevant to feminism. there are more thanonehundred. Gijón has 104 streets named after women, orpeople Concepción Arenal andIsabel laCatólica. Thenumber increased to thirty in1995. Today, were only five streets named for women: Adosinda, Eulalia Álvarez, MaríaBandujo, of attitude, street names have also been changed, albeit notsufficiently. In 1980, there Gijon’s streets are imbued with feminism. Owing to thenew momentum andchange 5. 4. 3. 2. 1.

Conflict at Riera, Astilleros 1987. Tuero Juan Carlos protest,Student 1985, 1985. Tuero Juan Carlos Elogio onthe beforeGraffiti unveiling. its Tuero Juan Carlos IKE female protest, worker’s 1987. Tuero Juan Carlos Protest Tuero Juan 2004. violence, against Carlos gender 5 Calle deZoila Calle deVirginia González Calle deVictoria Kent Calle deVerónica Calle deVeneranda García Manzano Jardines delTren delaLibertad Parque delas Trece Rosas Calle deTinaModotti Calle desorJuana Inés delaCruz Plaza deSara Suárez Solís Calle deRosario Trabanco Paseo deRosario deAcuña Calle deRosalía deCastro Calle deRosa Luxemburgo Calle deRobustiana Armiño Paseo deRigoberta Menchú Jardines delaReina Calle deRafaela Lozana Calle delapintora Pepa Osorio Calle delapintora Julia Alcayde Calle delapintora Concha Mori Calle delapintora Carolina delCastillo Calle dePilar Calle dePaulina Canga Jardines deMireia Asenjo Calle deMercedes Villazón Tuya Calle deMatilde delaTorre Calle deMarie Curie Calle deMarianaPineda Calle deMaríaVallina Calle deMaríaZambrano Calle deMaríaTeresa León Parque deMaríaTeresa González Calle deMaríaMoliner Calle deMaríaJosefa Calle deMaríaGuerrero Calle deMaríaGonzález, LaPondala Calle deMaríaElvira Muñiz Calle deMaríaDolores Muñiz Junquera Calle deMaríaDolores Calle deMaríalas Alas Pumariño Calle demaríaecharri Calle deMaríaCristina Calle deMaríaBandujo Calle deMaríaAsunción Catalá Calle deMaríaAndrea Casamayor Calle deMargarita Xirgu Calle deMargarita Salas Plazoleta delamaestra Aida Corte Morán Calle deLes Maestrines Parque delas Madres delaPlaza deMayo Calle deMacarena Calle deLuisa Balanzat Calle deles Cigarreres Calle deLaura delosRíos Calle delaMaestrina Parque delamaestra Eladia García Palacios Jardines delafilósofa Amelia Valcárcel Calle deJimenaMenéndez Pidal Calle deJimenaFernández delaVega Calle deIsabel laCatólica Calle deIrene Fernández Perea Calle deIrene Falcón Calle deHipatia deAlejandría Calle deGloriaFuentes Calle deGabriela Mistral Calle deFederica Montseny Calle deFaustina Álvarez García Calle deEulalia deLlanosyNoriega Calle deEulalia Álvarez Calle deEstherSastre Calle deEsperanza Calle deEsmeralda Maseda Calle deEnriqueta Ceñal Calle deDorotea Paseo deDolores Medio Calle deDolores Ibárruri Calle deDolores Calle deCorín Tellado Calle deConsuelo Busto Calle deConstantina Pérez yAnita Sirgo Calle deConstancia delaMora yMaura Calle deConsolación Calle deConcha Espina Calle deConcepción Arenal Plaza Club Patín Solimar Parque deClara Ferrer Calle deClara Campoamor Calle deCecilia Calle deCarmen Gaite Martín Calle deCarmen Leal Mata Calle deCarmen Conde Calle deCarmen Amaya Calle deBlanca delosRíos Calle deBetty Friedan Calle deAurora deAlbornoz Calle delaArgandona Calle deAnaMaría Calle deAlicia Concepción Álvarez Jardines deAlicia Alonso Calle deAida delaFuente Calle deAdosinda Calle deAda Byron Plazoleta delaactriz Aurora Sánchez named for women 104 streets