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Transcript
1. Marcos ORDOZGOITI (1824-1875)“La Taraska” (The Shameless Woman) (1870)
15. Agustín IBARROLA (1930)“El bosque animado” (The Animated Forest)” (1983 and 1991)
16. Alberto PALOMERA (1962)Untitled (2003)
7. URDAIBAI
The Urdaibai region covers all the area around the Gernika river estuary, sometimes called Mundaka ri-ver estuary, which includes Bermeo, Mundaka, Suka-rrieta, Busturia, Forua, Gernika and its surroundings, Kortezubi, Arteaga, Kanala, Ibarrangelua, Elantxobe and Ea. An important number of artistic works are located around this natural biosphere reserve. There are so many that it is difficult to make a selection, so therefore the most outstanding have been highligh-ted. “La Taraska”, partly created by Marcos Ordozgoiti (1824-1875) is one of the oldest works in Bizkaia. The graveyard at Arrazua has a pantheon by Nemesio Mo-grobejo (1875-1910) and the cemetery at Mundaka has sculptural pantheons by Miguel García de Salazar
URDAIBAI
(1877-1959) and Higinio Basterra (1876-1957), among others. The rest are more contemporary pieces. The dialogue that takes place between the sculptures by Henry Moore (1898-1986) and Eduardo Chillida (1924-2002) in the park beside the Regional Parliament (Casa de Juntas) in Gernika is quite unique. The town of Ber-meo is blessed with an important donation of the work of Néstor Basterretxea (1924), which forms an open-air museum. The works by Agustin Ibarrola (1930) in Oma are worth looking over and enjoying in contact with nature. Lesser known are Jon Iturrarte (1948), Adel Alonso (1953) and Alberto Palomera (1962), whose works are sited in Gernika, Forua and Arteaga, respectively.
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1Marcos de ORDOZGOITI (1824-1875)
La Taraska in Bermeo is a work that hails back to the nineteenth century sense of public ornamentation. The ensemble offers an integration of sculptures of different origins and functions as a fountain to supply water to the town. It is situated beside the church of San Francisco and was inaugurated in 1870. Accord-ing to Azcarraga y Regil, the work was created by the “ill-fated Marcos de Ordozgoiti” (1824-1875). Munici-pal approval was given in 1867 to build two fountains of public interest. Their design is attributed to Antonio Ibarraran, an engineer from Bermeo, although each of the pieces was produced by different people. The trough was made by Juan Pedro Dondiz and the said Ordozgoiti was commissioned to make the column, which is Carrara marble, on 25 October 1868. The sta-tue is made of bronze and its creation was awarded to Agapito Sarragua, who presented several casting models, on 19 July 1868 by official submission. Fina-lly, the figure of “Victory” was chosen, although it has always been known by the popular name of Taraska. It is a term which means “shameless” and is probably due to the curves of her body, revealed by its moving, figure-hugging dress. The piece was cast in France.
The sculpture is very well integrated in the town’s festivities and protests. It takes part by being dressed in typical fisher-folk costume, by having flowers placed on it or rib-bons to raise awareness of AIDS or masks against the lack of freedom of ex-pression.
URDAIBAI
Bermeo
“La Taraska” (The Shameless Woman) (1870)
2Néstor BASTERRETXEA (1924)
The bronzes of the three “Mamuak”, also called “Ilargi alandrearen mamuak” were made by Néstor Baste-rretxea (1924) and stand on Erreten Lamera in Bermeo. They are arranged on the outer walls of the convent of San Francisco, whose cloister holds five funerary steles that were installed in 2005. According to the author “It is not unusual in artistic creation to make various versions of an initial work”. They were placed here in 2006 and refer to beings from the abundant Basque mythology, documented by Aita Barandiaran. In the artist’s opinion “their powerful light illuminated the ritual nocturnal feasts in their honour”. They are like phantoms of the mother moon which appear sche-matically. They have great constructive simplicity. The planes are clean and the lines draw severe, enigmatic faces that go back to the rituals of early civilisations. The sculptor from Bermeo is carrying out countless sculptural works in his home town. Some works have not yet been installed, like in the case of the 18 pieces in the Cosmogonic Series. These are to be placed in a circle in the Lanera park and will be inaugurated du-ring 2007.
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Bermeo
“Mamuak” (Moon Faces) (2005)
3Néstor BASTERRETXEA (1924)
“Olatu” is a colossal sculpture. Almost eight metres tall and weighing 44 tonnes, it is made of Corten steel. A material which, according to Néstor Basterre-txea (1924), is “hard, amazing like the character of my town”. The Bermeo artist has donated it by depositing it on one of the wharfs in the port. On its base is the following inscription“Bermeo nire herri maitea, zu zara olatu erraldoi baten irudi zoragarria” (“Bermeo my beloved town, you are
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Bermeo
“Olatu” (The Wave) (2006)
the image of a giant, breathtaking wave”). It was inau-gurated in 2006 and is made up of five parts. Three ele-ments represent undulating waves about to rush down onto the other two, which are like prismatic rocks. He has synthesised an impression and materialised it artistically. The piece has special lighting that allows special nocturnal observation. It consists of three spotlights and gives a 90 degree light aperture.
4Néstor BASTERRETXEA (1924)
The monument has a plaque with the following ins-cription: “Al pintor Benito Barrueta Arteinza ´tar Be-nito margolariari Bermeo 1873-1953. Bermeoko herriak oroigarria. Iraila, 1973”. The work is by the Bermeo ar-tist Néstor Basterretxea (1924) and stands on the look-out point (Atalaya) of the fishing port, whose mirador offers a fantastic maritime view. Produced in 1972, it was placed one year later as a tribute to the local au-thor on the occasion of the centenary of his birth. The artist has changed the traditional circular typology of the discoidal stele and arranged a square structure. It measures 2.5 x 2.5 x 0.4 metres and is made of two materials. The lower part refers us to solidity and to the spiritual vacuum of transcendence: it is made of concrete and has a triangular-shaped hole that makes it possible to view a perspective of the place. The up-
per part refers to people’s roots and the work of their ancestors: it is made of wood and shows a frame-work that draws the con-structive structures of the farmhouse.
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Bermeo
Monument to the painter Benito Barrueta Arteinza (1972)
5Néstor BASTERRETXEA (1924)
Néstor Basterretxea has sought to pay tribute to the town where he was born and has donated a total of 27 em-blematic sculptures which have been installed outdoors. This bequest, which he has made “delighted and for love of Bermeo”, is part of the “Hilarriak” (Tombstone), “Ma-muak” (Moon Faces) and “Euskal Kosmogonia” (Basque Cosmogony) series. The inspiration for the 18 sculptures that make up the “Basque Cosmogonic Series” stems from the mythological studies of Father Barandiaran and they are installed in the Lamera park, close to the Casino in Bermeo. The original pieces were made of wood in 1972 and have been reproduced life size. The artist has dona-ted his work, with the town meeting the cost of casting in bronze, an operation carried out by Alfa Arte in Eibar. In the artist’s own words, “I went in search of a solution and resorted to Barandiaran’s Dictionary of Basque Mytho-logy. With this information I created 18 deities and tried to convert the word into a tangible image situated in space, which sculpture is. This is my fundamental contribution to Basque culture, this non-existent translation”. The cir-cular layout of the series seems to indicate to us that none of the deities is more important than the others, and providing a space for intermediation between human be-ings and reality. The ensemble seeks identification with the past and makes a journey through Basque mythology. The artist has composed a sober, serious, totemic work, making use of contemporary artistic resources. He has created powerful signs that link the gestural calligraphy which is developed in time and the solid construction that grows wider in space. The work exhales a strong
magic factor that broadens the individual and collective imaginary.
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Bermeo
“Basque Cosmogonic Series” (1972-2007)
6Higinio BASTERRA (1876-1957)
The cemetery at Mundaka stands in a privileged set-ting, from which the Gernika river estuary can be seen. The pantheon of the family of Bernardina Urrutia was designed by Higinio Basterra (1876-1957). The tomb is very high and rises from the ground on a prismatic plinth. Arranged above is the representation of a large bed with its corresponding blanket. The headpiece has a solid pedestal that supports the figure of an angel who accompanies the deceased. The fluttering wings form a large V and are then superimposed on the cross, a symbol of passion and resurrection. The scenography is impressive and shows care and gui-dance towards eternal life.
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Mundaka
Pantheon of the Bernardina Urrutia family
7Miguel G. de SALAZAR (1877-1959)
Miguel García de Salazar (1877-1959), from Algorta, is an author who effectively resolves funerary motifs. The pantheon of the family of León Basterretxea was produced in 1911. It consists of a bronze angel whose wings express mobility and link the ground and the air, earth and heaven. A figure which is lying down on an elongated stone, on which the following can be read: “I TRUST IN THE ANGEL, MY GOD, MY GUARD-IAN AND IN HIS MERCY”. The prayer is materialised
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Mundaka
Pantheon of the León Basterretxea family (1911)
with successive, linearly-dispersed, metallic letters. There is a theatrical tendency and the sense of nar-ration is exalted. It has a certain sentimentality and a romantic tone whose picturesqueness achieves a considerable impact. The model creates a dynamic of shapes and volumes. It breaks with frontal vision and can be observed from different viewpoints, from far away and close up. Like lodged vanitas, the rocks are natural and contribute the passage of time.
7Miguel G. de SALAZAR (1877-1959)
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Mundaka
Pantheon of the León Basterretxea family (1911)
8Miguel G. de SALAZAR (1877-1959)
The “Dolorosa” (Madonna) of the Martín Gondra family pantheon is another work by Miguel García de Sala-zar (1877-1959). Produced in 1909, it illustrates the female figure in a praying attitude with the body lean-ing forward. One leg is supported on the remains of a boat that seems to advance and carry the deceased towards paradise. A text states: “THE SOUL GUIDED / BY THE CROSS / IN THE STORMY / SEA OF LIFE / APPROACHES, OVERCOMES / ETERNITY”. The arms form an inverted “V” whose vertex points towards the face, which raises up its eyes and places its faith in the infinite. The prow marks a diagonal towards the left (the past), whereas the body is leaning slightly in the opposite direction, to the right. Nothing seeks to draw attention away from the essential. The artist eliminates the details of the folds and shows only the necessary. The entire ensemble is arranged on the roughness of
some raging rocks, like sea swell during a gale. They tell us that the real world is filled with dangers. The difficult life which is left be-hind is borne by the faith in eter-nal paradise.
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Mundaka
Pantheon of the Martín Gondra family (1909)
9Adel ALONSO (1953)
Adel Alonso (1953) is the author of the work that stands in the centre of the Plaza Atxeta in Forua. The piece by the artist from Muskiz is titled “Desarrollo es-férico 1” and was made in 1989. It is made of limestone and Corten steel painted black. The base is circular and has a diameter of three metres. The ground rises to form a spherical cap on which a dynamic curvilin-
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Forua
“Desarrollo esférico 1” (1989)
ear metallic strip is supported. Together with another orthogonal band it draws a sphere in the air. A real sphere is arranged in balance, with which a tension is maintained and a dialogue between surfaces, ma-terials and colours. It has a support which was added later and prevents the levitation of the ensemble.
10Eduardo CHILLIDA (1924-2002)
Eduardo Chillida (1924-2002) is the author of the work situated in the park adjacent to the Casa de Juntas, the Parliament of Bizkaia. It is composed of the dark Corten steel of “Gernika” (1987) and the grey concrete of “Gure Aitaren Etxea” (1988), which combine the hon-our of the past and the open and expensive future. The huge wall measures 780 x 1820 x 164 cm and weighs 188 tonnes. It is based on the stele to Agamemnon (1982), who, to ensure his boat sailed, overcame all
kinds of trials and did not hesitate to sacrifice his daugh-ter, Ifigenia. The great enveloping wall is a volume that advances like a ship and seems to be bound towards the tree of tradition. Like a prow ploug-hing through space, it relates times: yesterday and to-day, parents and children. It is also a construction whose layout protects
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Gernika
“Gure Aitaren Etxea” (Our Father’s House)(1988)
space, like with the walls of a house. The structure es-tablishes limits and determines a permeability between inside and outside, what is ours and others’. The curvi-linear shapes of the open window suggest the idea of a yoke, used not to direct the strength of animals, but rather the sight and common effort of men. The circular rings on the sides are like metal rings to pull and drag the building in times of removal and difficulty. The dual idea of vessel and house evoke mobility and immobi-lity, progress and memory, adventure and identity at the same time. The re-membrance and tribute facet is also shown in the stele (170 x 105 x 45 m.), whose curvatures travel in space, al-lowing forward and backward steerage and guidance. It is like a privileged ob-servatory on which to support oneself and from which to project one’s gaze.
10Eduardo CHILLIDA (1924-2002)
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Gernika
“Gure Aitaren Etxea” (Our Father’s House)(1988)
11Henry MOORE (1898-1986)
Its maker, Henry Moore (1898-1986) holds a place of honour in the history of twentieth century sculpture. “Large Figure in a Shelter” is one of his last works. It is 7 metres tall and weighs about 20 tonnes. Designed in 1985-86, it was inaugurated on 7 July 1990, a few years after his death. The piece develops a dialogue between individual identity and social consciousness through a commitment with the yearning for freedom. It is part of the “War Helmets” series (1939-1975), which consists of helmets with the meaning of protection. In Gernika the approach is not of a merely defensive attitude nor
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Gernika
“Large Figure in a Shelter” (1985-86)
of voluntary confinement, but of something that opens and where a person emerges. It is composed of two directly related parts. The helmet is shown split into two and gives the idea of an organic, open and recep-tive shell, with an independent element, in the shape of a woman, appearing from its core. The scene has the character of rebirth, of returning to the exterior. It is a changing surface, made up of concave and con-vex, mobile and tactile, curved volumes, like the seed of a longing to overcome serious problems.
11Henry MOORE (1898-1986)
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Gernika
“Large Figure in a Shelter” (1985-86)
12Jon ITURRARTE (1948)
Jon Iturrarte Artola (1948) starts from anthropologi-cal knowledge and gives art the function of a cultural service. “Marimeta” (1997) is located in Íñigo López de Haro street in Gernika. The title sets up a play on words. It combines the name of the goddess Mari, whose enigmatic face looks down on the place from a wall niche, and that of a construction like the hay-stack, which has always been very common in the Basque Country. The piece measures 300 x 300 x 700 and is made of brick and white tile. It was erected on the occasion of the 60th anniversary of the bombing of Gernika and is like a fragile shelter. It shows the hollow explosion of a large central opening close to some small closed windows that might contain votive offerings and mementos. It has a semblance of a huge dovecote or open cage for free birds. It shows its outer marks and provides the feeling of an inner space that can be inhabited and is spiritually protected. Inside, it contains the secret soul of a small sculpture and the
photograph of Ramona, a survivor of the fascist bombs and strafing. The work is an focal point for contemporary reflection and sensitisation that contains mythical links and true facts, the past and the present.
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Gernika
“Marimeta” (Haystack) (1997)
13Nemesio MOGROBEJO (1875-1910)
The pantheon of the Gandarias family is an excellent work by Nemesio Mogrobejo (1875-1910). It was car-ried out in 1908 and its huge proportions cause sur-prise. It is situated in the middle of the small cemetery at Arratzu and can be seen from outside. It was cast by Ballarin in Barcelona and is signed on the rear, close to the rear columns. It is an estimable work, both so-lid and delicate at the same time. With its hands out-stretched, the figure seems to gather up the soul of the deceased at the same time as it pleads for them. The face displays great serenity and is very idealised, with-out any personal tone. The modelling is compact and balanced. The surfaces are treated with harmonious delicacy and are exquisitely polished. The symmetry is activated by means of the direction of the straight folds and the envolving, curvilinear movement of the long tunic. A garment which barely reveals the tense arms and the feet, as the head is shown bowed and in an attitude of prayer. Mogrobejo uses the female body and wraps it in modern undulations. The result is ma-jestic and imposing.
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Arratzu
Pantheon of the Gandarias family (1908)
13Nemesio MOGROBEJO (1875-1910)
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Arratzu
Pantheon of the Gandarias family (1908)
14Agustín IBARROLA (1930)
The Refugio Basondo in Kortezubi has been in exis-tence since 1987. It was founded by Xabier Maiztegi, a local veterinarian, who started to take in threatened animals on his farm. Today it is a nature interpretation centre and shelter for endangered fauna. Its 60,000 square metres of meadows and woodland hold wild boar, roe deer, foxes, mountain cats, otters, birds of prey and reptiles, among many other species. The general public can visit the Refuge on weekends and public holidays. Other days, visits are by prior appoint-ment only. It is located close to the Santimamiñe caves, next to the road. “Totem Babeslea” (2000), a sculpture by Agustín Ibarrola (1930), stands at the entrance. It is a gateway, a triumphal arch for nature. It is made up of large wooden cylinders that intertwine around a triangle, crossing through the space and enlivening it. Colour represents the rainbow on the construction. It provides its chromatic warmth and fosters a feeling of
protection on the place, peo-ple and ani-mals.
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Kortezubi-Oma
“Totem Babeslea” (Protective Totem)
15Agustín IBARROLA (1930)
The work on the enchanted forest is unique. It should be observed and also walked through in contact with nature. Between 1983 and 1991, Agustín Ibarrola (1930) painted on the trunks of more than 500 pine trees in Oma, in the municipality of Kortézubi, near Gernika. The work was restored by Fine Arts students in the summer of 1998. The complex receives thousands of visitors each year. The figures have been materialised directly onto the bark of the trees. According to their author “The painted forest invites each person to re-compose the images indicated and those that arise in their imagination, and also to add their own histori-cal and mythological motivations or their moods, in a place very close to the Santimamiñe caves, which hold invaluable prehistoric paintings”. The forest is signposted to enable visitors to pick up the ideas that the artist conveys. The dialogue between the moun-tain and the artistic creations is discovered by walkingalong footpaths on the woody hillsides. Schematic hu-man figures, the traces of lips, animal tracks, together with simple zig-zag geometric lightning trails or the polychrome figure of a rainbow that jumps from trunk to trunk, can be seen among the vegetation. The place takes on significance, for which it is necessary to stand in specific positions. Only in this way can co-lour stains be seen to join together in the distance. An expressive experience full of surprises.
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Kortezubi-Oma
“El bosque animado” (The Animated Forest)” (1983 and 1991)
15Agustín IBARROLA (1930)
URDAIBAI
Kortezubi-Oma
“El bosque animado” (The Animated Forest)” (1983 and 1991)
16Alberto PALOMERA (1962)
Alberto Palomera (1962) has created a set of works in front of the castle in Gauteguiz de Arteaga. They are made of Corten steel and were produced in 2003. The artist from Barakaldo creates dialogue with the place. Consequently, it introduces plastic and functional rhymes with the constructive character of the buil-ding. It follows the idea of less is more, as Mies Van der Rohe requested, and designs an environment with the schematic delimitation of simple vertical plates. It creates limits, by way of a barrier, that leaves gaps, structures the space and gives the idea of a defensive
system, like that of the high walls of the adjacent tower.
