Mendiburu. Cronología Artística
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Who's Who in Basque Music Today
Who’s Who in Basque music today AKATZ.- Ska and reggae folk group Ganbara. recorded in 2000 at the circles. In 1998 the band DJ AXULAR.- Gipuzkoa- Epelde), accomplished big band from Bizkaia with Accompanies performers Azkoitia slaughterhouse, began spreading power pop born Axular Arizmendi accordionist associated a decade of Jamaican like Benito Lertxundi, includes six of their own fever throughout Euskadi adapts the txalaparta to invariably with local inspiration. Amaia Zubiría and Kepa songs performed live with its gifted musicians, techno music. In his second processions, and Angel Junkera, in live between 1998 and 2000. solid imaginative guitar and most recent CD he also Larrañaga, old-school ALBOKA.-Folk group that performances and on playing and elegant adds voices from the bertsolari and singer who has taken its music beyond record. In 2003 he recorded melodies. Mutriku children's choir so brilliantly combines our borders, participating a CD called "Melodías de into the mix, with traditional sensibilities and in festivals across Europe. piel." CAMPING GAZ & DIGI contributions by Mikel humor, are up to their ears Instruments include RANDOM.- Comprised of Laboa. in a beautiful, solid and alboka, accordion and the ANJE DUHALDE.- Singer- Javi Pez and Txarly Brown enriching project. Their txisu. songwriter who composes from Catalonia, the two DOCTOR DESEO.- Pop rock fresh style sets them apart. in Euskara. Former member joined forces in 1995, and band from Bilbao. They are believable, simple, ALEX UBAGO.-Donostia- of late 70s folk-rock group, have since played on and Ringleader Francis Díez authentic and, most born pop singer and Errobi, and of Akelarre. -
03 Margen Derecha 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. Jesús Lizaso (1961) “Amatxo” (Mother) (2002) 2. Manuel Basterra (1882-1947) Monument to José Mª de Acha (1931) 3. Ricardo Iñurria (1908-1995) Bust of Alberto del Palacio Elissague (1956) 4. Miguel García de Salazar (1877-1959) Monument to Evaristo Churruca (1919-1939) 5. Higinio Basterra (1876-1957) Tribute to Darío Regoyos (1926) 6. Vicente Larrea (1934) “Algorta Two” (1999) 7. Miguel García de Salazar (1877-1959) Pantheon of the Valle family 8. Miguel García de Salazar (1877-1959) Pantheon of the Diliz family (1914) 9. Miguel García de Salazar (1877-1959) Pantheon of the Salvadora Cortina family (1912) 10. Miguel García de Salazar (1877-1959) Pantheon of the family of Emilio Basagoiti (1918) 11. Jose Ramón Carrera (1935) “Vindication of the pelota court” (1975) 12. Néstor Basterretxea (1924) “Biscay, a Wave of Iron” (1989) 13. Vicente Larrea (1934) “Reredos of Freedom” (1989-90) 14. Anonymous Tribute to Eugenio Gutiérrez Salazar (2002) 15. Rob Krier (1938) Untitled (1990-1991) 16. Néstor Basterretxea (1924) “Leioako indarra” (The Force of Leioa) (2001) 17. Jorge Oteiza (1908-2003) “Proposamen dinamikoa / Dynamic Proposition” (2002) 18. José Ramón Anda (1949) “Besarkada” (Embrace) (2005) 3. ESKUINALDEA A great many works of public art can be observed on the right bank of the river estuary. The municipalities of Erandio, Leioa and Getxo are well furnished with sculptures, from the past and present, not only from the first half of the 20th century but also more recent. -
The Basquebasque Archives,Archives, Aa Sourcesource Ofof Identityidentity TABLE of CONTENTS
Issue 68 Year 2005 TheThe BasqueBasque archives,archives, aa sourcesource ofof identityidentity TABLE OF CONTENTS GAURKO GAIAK / CURRENT EVENTS: The Basque archives, a source of identity Issue 68 Year 3 • Josu Legarreta, Basque Director of Relations with Basque Communities. The BasqueThe archives,Basque 4 • An interview with Arantxa Arzamendi, a source of identity Director of the Basque Cultural Heritage Department 5 • The Basque archives can be consulted from any part of the planet 8 • Classification and digitalization of parish archives 9 • Gloria Totoricagüena: «Knowledge of a common historical past is essential to maintaining a people’s signs of identity» 12 • Urazandi, a project shining light on Basque emigration 14 • Basque periodicals published in Venezuela and Mexico Issue 68. Year 2005 ARTICLES 16 • The Basque "Y", a train on the move 18 • Nestor Basterretxea, sculptor. AUTHOR A return traveller Eusko Jaurlaritza-Kanpo Harremanetarako Idazkaritza 20 • Euskaditik: The Bishop of Bilbao, elected Nagusia President of the Spanish Episcopal Conference Basque Government-General 21 • Euskaditik: Election results Secretariat for Foreign Action 22 • Euskal gazteak munduan / Basque youth C/ Navarra, 2 around the world 01007 VITORIA-GASTEIZ Nestor Basterretxea Telephone: 945 01 7900 [email protected] DIRECTOR EUSKAL ETXEAK / ETXEZ ETXE Josu Legarreta Bilbao COORDINATION AND EDITORIAL 24 • Proliferation of programs in the USA OFFICE 26 • Argentina. An exhibition for the memory A. Zugasti (Kazeta5 Komunikazioa) 27 • Impressions of Argentina -
Aldizkaria-2009-Negua.Pub
Basque Club Aldizkaria Negua 2009 Winter Odolki Jatea & Mus Tournament The Basque Club’s Members free lunch and mus tournament will take place on Sunday, February 8th at the San Francisco Basque Cultural Center. The entire mus tour- nament will be played in one day, with finals being contested immediately fol- lowing lunch. Teams that qualify for the finals, will be seated together at a spe- cial reserved table for lunch. This table will be served first to ensure that the qualifying teams can begin the finals promptly. Mus tournament registration will start at 7:00am, and teams will be seated at 7:45am. The registration fee is $40 per team. The Members’ free lunch will be at 1:00pm. If you have already qualified for the NABO mus tournament, you are still strongly encouraged to participate in this mus tournament. Please RSVP for lunch by contacting Valerie Arrechea at 650-871-7347or etchar- [email protected] by February 3rd. Mil esker. This year’s International Mus Championships will be held just outside of Bilbo, from August 29th to September 5th. Sunday, February 8th, 7:00am / 1:00pm Elgarrekin 1983 Landmark Recording Gaztemundu 2008 Released On Compact Disk by Lisa Etchepare On the 25th anniversary of the Elgarrekin Basque Choir’s land- mark recording, the Basque Club re-issued this collection of eleven songs on Compact Disk. The master recording tapes were found in storage at the Basque Cultural Center in 2007 and were digitized and re-mastered by Robert Iriartborde. The forty- four member Elgarrekin choir made the Arriving in Gasteiz tired from the past days’ fêtes in Banca and with- recording on January 6th, 1983 at Notre out a clue of which direction the Tomás Alfaro Fournier hostel was Dames des Victoires, under the direction of in, my first thoughts on Gaztemundu 2008 was that I was in way Mattin Zubieta and Jeanne Mazeris. -
NESTOR BASTERRETXEA. BIOGRAFIA AUTOR Nacido En
NESTOR BASTERRETXEA. BIOGRAFIA AUTOR Nacido en Bermeo (1924), la Guerra Civil española empuja a su familia a un temprano exilio en 1936, residiendo en diversos lugares de Francia hasta 1941. El estallido de un nuevo conflicto, la II Guerra Mundial, le deparará un segundo exilio que les conduce a Buenos Aires, Argentina (1942). Sus cualidades naturales en la técnica del dibujo le permitieron desarrollar una formación autodidacta y el acceso a su primer trabajo; con apenas 20 años obtuvo su primer empleo en ultramar como dibujante publicitario. En 1952 hace un viaje personal a Europa y retoma el contacto con Jorge Oteiza. Animado por este se presentará al concurso de los Murales de la Cripta de la nueva Basílica de Arantzazu (Oñate), donde trabaja ya el propio Oteiza. Al ganar el concurso se ponían a su disposición unos 650 m² de superficie total repartidos en 18 murales. Este es uno de los capítulos más agri-dulces de la vida del artista, ya que supuso un gran espaldarazo profesional enfrentarse a este encargo pero cuyo capítulo final provocaría un gran disgusto. Trabajó en ellos con entusiasmo durante más de dos años, pero se cerró en falso al suprimir la orden franciscana, en una sola noche, la mayor parte de su trabajo por considerar el resultado inadecuado. En palabras de Edorta Kortadi se trataba de “Bocetos de carácter simbólico expresionista siempre sobre una poética cubista heredada de los pintores vascos de preguerra y de Picasso, […] base de aquella pintura recia y construida que él había proyectado para los muros”. Su rabioso expresionismo no fue entendido por los promotores eclesiásticos. -
Propaganda, Appropriation, and Depoliticisation of Basque Art Music
Document generated on 09/25/2021 11:19 a.m. Circuit Musiques contemporaines Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music Gernikaren itzalpean : propagande, appropriation et dépolitisation de la musique d’art basque José L. Besada and Ainara Zubizarreta Engagements sonores : éthique et politique Article abstract Volume 28, Number 3, 2018 The Bombing of Guernica stands as the best-known war crime during the Spanish Civil War. The town symbolically representing the Basque essences was URI: https://id.erudit.org/iderudit/1055192ar destroyed by a German-Italian air raid lasting over three hours, and almost two DOI: https://doi.org/10.7202/1055192ar hundred people were killed. Unfortunately, this abominable event remains contentious among disparate political factions, sometimes upholding its memory See table of contents by means of tailor-made interpretations. As music often performs a political role within conflicts, particularly those involving violence, it is not surprising that the Bombing of Guernica has inspired several compositions of art music. Among them, we study three works by Basque Publisher(s) composers, namely Pablo Sorozábal, Francisco Escudero, and Ramon Lazkano. Circuit, musiques contemporaines Each case study respectively stands, politically speaking, as a propagandistic event, a musical appropriation, and a collateral depoliticization of the vivid ISSN memories around the war crime. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Besada, J. L. & Zubizarreta, A. (2018). Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music. Circuit, 28(3), 25–38. https://doi.org/10.7202/1055192ar Tous droits réservés © Circuit, musiques contemporaines, 2018 This document is protected by copyright law. -
Una Nueva Espacialidad En La Relación Entre Arte Y Política En El País Vasco
ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en COMUNIDAD Y RESISTENCIA: una nueva espacialidad en la relación entre arte y política en el País Vasco GARAZI PASCUAL CUESTA Tesis para alcanzar el título de Doctora en Filosofía Departament de Filosofia – Facultat de Filosofia i Lletres Universitat Autònoma de Barcelona, 2018 Director: Gerard Vilar Roca Doctoranda: Garazi Pascual Cuesta 2 AGRADECIMIENTOS El devenir de esta tesis refleja, en parte, las vivencias experimentadas a lo largo de su escritura e incluye, por ende, momentos inspirados, difíciles, de bloqueo e incertidumbre. Por ello, espero que este apartado sirva para expresar mi agradecimiento a todas aquellas personas que, en menor o mayor medida, han contribuido en la realización de esta tesis y que se han mantenido a mi lado incondicionalmente. Ha sido un trabajo solitario durante cinco años y sin embargo, han sido muchas las personas que, a mi alrededor, me han ofrecido su ayuda y opinión en las distintas fases del proceso, haciendo gala de una paciencia infinita. En primer lugar, quisiera agradecer al Dr. Gerard Vilar por su confianza al haber aceptado la dirección de esta tesis doctoral. -
Ramón Gernika
ramón carreraren gernika ramón carreraren gernika Euskal Herria Museoa - 19-4-11 / 19-6-11 Allendesalazar, 5 48300 Gernika-Lumo (Bizkaia) Tfno. 94 625 54 51 [email protected] www.bizkaia.net/euskalherriamuseoa © Komisariotza: Xabier Sáenz de Gorbea © Diseinu eta argazkiak: Sonia Rueda Itzulpenak: ASAP Traducciones ISBN: 978-84-7752-481-5 D.L.: BI-883-2011 Esker onak: Gernika-Lumoko Udala, Gernika-Lumoko Turismo Bulegoa, Juan María Marsal, Roque Tabares, Windsor Kulturgintza, Carlos de la Fuente, Mikel Hurtado, Pablo Aramendia. r a m ó n c a r r e r a r e n g e r n i k a Ramón Carreraren jardunbide Sobre la trayectoria artística y Just some brief notes to help us artistiko eta pertsonalaz ohar labur personal de Ramón Carrera, sólo situate the artistic and personal batzuk baino ez ditut idatziko, artista unas breves notas que nos ayuden trajectory of Ramon Carrera. Born kokatzen laguntzeko. Madrilen jaio a situarlo. Nacido en Madrid, con 8 in Madrid, he came to the Basque zen eta 8 urte zituela Euskal Herrira años vendrá al País Vasco y toda Country at the age of eight and etorri zen. Berton garatu zen, beraz, su trayectoria profesional y vital his whole professional and life bere lanbide- eta bizi-jardunbidea, se centra aquí, tanto como artista, experience had its centre here, artista moduan nahiz Arte Ederren y como docente en la Facultad de both as an artist, and in his teaching Fakultateko irakasle moduan. Bellas Artes. career at the Faculty of Fine Arts. Zer-nolako eremutan mugitzen zen Para hacernos a la idea de en As -
Beyond Guernica and the Guggenheim
Beyond Guernica and the Guggenheim Beyond Art and Politics from a Comparative Perspective a Comparative from Art and Politics Beyond Guernica and the Guggenheim This book brings together experts from different fields of study, including sociology, anthropology, art history Art and Politics from a Comparative Perspective and art criticism to share their research and direct experience on the topic of art and politics. How art and politics relate with each other can be studied from numerous perspectives and standpoints. The book is structured according to three main themes: Part 1, on Valuing Art, broadly concerns the question of who, how and what value is given to art, and how this may change over time and circumstance, depending on the social and political situation and motivation of different interest groups. Part 2, on Artistic Political Engagement, reflects on another dimension of art and politics, that of how artists may be intentionally engaged with politics, either via their social and political status and/or through the kind of art they produce and how they frame it in terms of meaning. Part 3, on Exhibitions and Curating, focuses on yet another aspect of the relationship between art and politics: what gets exhibited, why, how, and with what political significance or consequence. A main focus is on the politics of art in the Basque Country, complemented by case studies and reflections from other parts of the world, both in the past and today. This book is unique by gathering a rich variety of different viewpoints and experiences, with artists, curators, art historians, sociologists and anthropologists talking to each other with sometimes quite different epistemological bases and methodological approaches. -
Crossroads of Culture Download 5.8 MB
Crossroads of In Bilbao the local takes The maximum on universal expression of art: significance Guggenheim Museum Bilbao and much more • A distinctive, differentiated heritage that defines an identity • Museums for all tastes • The sound of music on every corner • A universe of cultural events that look out on the world You will be delighted TO VISIT Guggenheim Museum Bilbao History in stone and brick A museum that has become an icon The Old Quarter, heritage that looks to the skies The fine arts Medieval villages and maritime villages Crossroads Get to know us through our museums Taken together, a historical and artistic heritage 6 A 21st century heritage Each one unique in itself of You will be enchanted by You will be delighted You will be thrilled Opera, in the key of song Renovated classics WALKING TO ATTEND The beat goes on TO JOIN IN Paseo de la Memoria Bizkaiazz ...but it pours Land Art, art surrounded by Azkuna Zentroa Multicultural Art District, showcase for the world nature In harmony with your taste Spaces for creation Urban walks through greenery Film, all the genres Idiomatic tourism Theatre, the curtain raises Through the window Basic Euskera dictionary 24 30 On special dates 50 Bilbao's lookouts A dramatised passion Camino de Santiago, coasting Basque Fest This card is your passport to savings and Going to the fair convenience when planning your stay in Bilbao; use it for public transport, museum and theatre tickets, restaurants, shops and other leisure You will love You will adore activities. Request one in any Tourism Office topCULTURE or at: SHOPPING THE FOOD Everything you can't miss www.bilbaoturismo.net in 10 ideas Design for the world Dishes in the firmament Made in Euskadi Creative cooking From the real Bilbao 68 Culture off the shelf Slowfood Version: February 2016. -
El Imaginario Artístico De “Lo Vasco”
El imaginario artístico de “lo vasco”. Prácticas y políticas culturales a finales del siglo XX The Artistic Imaginary of “Basquesness”. Cultural Practices and Policies at the End of the 20th Century ANE LEKUONA-MARISCAL Universidad del País Vasco [email protected] Resumen: El artículo analiza el cruce iniciado a partir de los años de la transición entre el discurso cultural del Gobierno Vasco y la difusión reiterada del lenguaje plástico de los escultores que habían participado en los años sesenta en el grupo guipuzcoano Gaur. Se estudian las razones que motivaron esta unión entre las directrices políticas y el imaginario artístico, así como los cambios que se han ido produciendo hasta la actualidad y sus efectos. Por otra parte, se analiza la relación entre dicho fenómeno y la configuración de la historia del arte del País Vasco de la segunda mitad del siglo xx. Palabras clave: País Vasco, Transición, PNV-EAJ, Historia del arte, Cultura institucional. Abstract: This article analyses the crossover that began in the years of the Spanish Political Transition between the cultural discourse of the Basque Government and the repeated dissemination of the plastic language of the sculptors who had participated in the Gaur group in the 1960s. We examine the reasons that motivated this union between political guidelines and the artistic imagination, as well as the changes that have taken place up to the present time and their effects. Furthermore, it analyzes the relationship between this phenomenon and the configuration of the Basque art history of the second half of the 20th century. Keywords: Basque Country, Transition, PNV-EAJ, Art History, Institutional Culture. -
(Alter) Mainstream: the Commercial As Transgression
1.2. When underground becomes (alter) mainstream: the commercial as transgression Ion Andoni del Amo1 Abstract In the Basque Country, the combination of a Basque ethnic culture together with subcultural expressions, and the joint mobilisation of them in the different conflicts -particularly the national one- by the social and political movements, has favoured processes of cultural and identity reconstruction. This has also favoured processes of (counter) institutionalisation, in the political realm and in material infrastructures, which have granted them particular power and a lasting nature, to the point of disputing the cultural hegemony of cultural products on the market. It crystallized an aesthetic mode of counterculture and a soundtrack. In that sense, the 'Basque Radical Rock' becomes in a kind of Basque (counter) mainstream, mainstream for some sectors and geographies, in dispute with the commercial or 'Spanish' ones. With Basque rock consolidated as counter-hegemonic, the role of rhythms such as commercial music or reggaeton becomes reversed and they acquire, in countercultural environments, a certain transgressive possibility. This is what some feminist and queer groups have explored. This reflection criticises the aesthetic closure, but also the sexism of Basque rock, moral taboos about sex, or a certain ethnocentric moral superiority with regard to some rhythms, supporting dance and even a right to moments of frivolity. Transgressive praxis involved a provocative and disconcerting insertion of commercial songs, or even traditional Spanish music, at venues playing Basque rock, and passionate reggaeton dancing between young women. Keywords: Basque Country, music, transgression, counterculture, gender, mainstream. Music, protest politics and identity in the Basque country In the last 50 years, the Basque Country has witnessed major counterculture phenomena.