Iván GómezIván Gómez

Roma y Remoria_BilbaoArte


Cesión de un caballo
perteneciente al conjunto escultórico
Mármoles de Lanuvio

Museo de Reproducciones Bilbao

BilbaoArte, Bilbao. 2016

“Writing with images” is, however, a resource for the artist, that trait of the shape of the journal as a dialectic relation between text and image in the editorial layout. It is not simply that, like an Eisensteinian montage, a third image arises from the sum of the two (in what is now the ABC of film editing); instead, there exists here a will to spatialise the montage, either on a printed sheet or within the framework of an exhibition. The montage works here rather more like a film making stumbling progress towards the intersection of disciplines, stories and fiction. The title of this exhibition, Rome and Remoria, introduces the myth of Romulus and Remus as founders of the city of Rome into a word play in which memory plays a decisive role. What would Remoria be like and what would the cultural heritage left by the Remorian Empire have been like? This fiction is an artistic contribution to understanding our reality and the remains and sediments incorporated by memory into culture, covering its cultural and historical origins. Art is a powerful tool for the building of a fiction that contemplates history and lifts it from its lethargy, contributing to the centrifuging in which we, as inhabitants of the present, participate collectively and also in an individual manner.

Peio Aguirre
Centrifugar la historia


• Roma y Remoria_Catálogo

• Exhibition's album

Roma y Remoria_Koldo Mitxelena Kulturunea

Bailarinas en la Performance
Ziomara Hormaetxe y Natalia de Miguel

Cesión de archivos:
Archivo Municipal de Irún
Archivo Municipal de Hondarribia

Cesión de reproducciones de los grabados
L’isle de la Conference (BEAULIEU, Sr. de /Siglo XVII)
Plan de L’isle des Faisans (BEAULIEU, Sr. de / Siglo XVII)
Ceremonie du mariage (LE BRUN, Jeaurat, E./ Siglo XVII):
San Telmo Museoa

Koldo Mitxelena Kulturunea, Donostia 2016

This exhibition proposal is part of the Gipuzkoa New Artists Programme 2016. A circuit is suggested that begins in a room where a re-reading of previously produced pieces will take place, the focus lying on a discourse on the idea of history as remains, ruins, relics; materials for dialogue and construction.

On show in the next room are archives and documents that form part of the process of an investigation around Pheasant Island and the Treaty of the Pyrenees that was signed there. Today the island is the smallest condominium in the world. I take this space of joint custody as a symbolic element to refer to the interstitial space in a relationship. The show opened with a performance that took place whilst the sound of a re-interpretation of a period waltz filled the space.

As a parallel activity, a workshop was held for upper secondary students, under the title Castillos de arena. Construcciones de poder [Sandcastles. Power constructions]. Plank moulds were produced in sand, and we talked of the intimate relation between power and aesthetics. The technical side was subordinated to the symbolic, generating work spaces suspended in time, halfway through the job, as if their operators had gone off at tea break leaving pieces sketched there. Pedestals, bases for equestrian sculptures, commemorative plaques, obelisk points… Tools and loads of dust.

• COMPROMISO_Iker Fidalgo

• Programa de artistas noveles 2016_Koldo Mitxelena Kulturunea