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Verwendung des Bildmaterials ausschließlich im Zusammenhang mit der Berichterstattung über die Ausstellungen in der K12 GALERIE, sowie unter Angabe des angeführten Copyrights!
copyright 2009 K12 GALERIE

NICOLÁS LAIZ
"cincomagnificos" | Öl-Leinwand | 200x200cm | 2008
K12 GALERIE
Foto: Nicolas Laiz © 2009
NICOLÁS LAIZ
"Oil and Oleos" | 2009 | Öl-Leinwand | 200x200cm
K12 GALERIE
Foto: Nicolas Laiz © 2009

NICOLÁS LAIZ
"Marx Mix " | Öl-Leinwand | 200x200cm | 2008
K12 GALERIE
Foto: Nicolas Laiz © 2009

NICOLÁS LAIZ
"Merto el Perro" | Öl-Leinwand | 200x200cm | 2008
K12 GALERIE
Foto: Nicolas Laiz © 2009
LEIRE MUNOZ
Co-library circular 2009 | Mixed | Dimensions variable.
LEIRE MUNOZ
Experienced spaces. 2006
Mixed
Dimensions variable.
LEIRE MUNOZ
No title. 2007
Mixed
Dimensions variable.3.

LEIRE MUNOZ
NICOLÁS LAIZ
„FROM THE INSIDES”
BILBAO-VORARLBERG IV
K12 GALERIE
29.10.-4.11.2009 I Mi-Fr 16-18 I Sa 15-17
Eröffnung am 29.10. um 20:00 Uhr

Schon seit dem Jahr 2002 werden von Seiten der Kulturabteilung des Landes regelmäßig kulturpolitische Schwerpunkte gesetzt, die als „Auslandsaktivitäten“ eine Internationalisierung von Vorarlberger Kunst forcieren. Konkret werden bestimmte Akzente zur Schaffung von Netzwerken im Ausland gesetzt und Prozesse initiiert, die es heimischen Kulturschaffenden ermöglichen sollen, sich auswärts zu profilieren. Als konkreter Erfolg dieser Auslandsorientierung wird seit Herbst 2006 gemeinsam mit der spanischen Stiftung Bilbao.Arte ein Künstler-Austauschprogramm organisiert. Im Rahmen eines Stipendiums werden dabei jeweils für zwei Monate zwei Vorarlberger Künstlerinnen oder Künstler nach Bilbao und umgekehrt zwei spanische Künstlerinnen oder Künstler nach Bregenz entsandt. Finanziert werden diesen Stipendiaten und Stipendiatinnen auf beiden Seiten monatliche Diäten, sämtliche Materialkosten, Reise- und Wohnkosten sowie mitunter auch Ausstellungsmöglichkeiten vor Ort. Bilbao Arte bietet als Post-Graduate-Kunstakademie beste Arbeitsbedingungen und unterhält zudem gute Kontakte zu anderen Kultureinrichtungen - wie dem berühmten Guggenheim-Museum. Im Umkehrschluss werden in Vorarlberg jeweils passende Ateliers für die spanischen Künstler gesucht. Ausgewählt werden die Künstler und Künstlerinnen jeweils von einer Jury des Gastgebers. Folgenden Künstler haben bisher an diesem Austauschprogramm, das heuer bereits zum vierten Mal stattfindet teilgenommen: Alexandra Berlinger, Wolfgang Fiel, June Crespo, Gonzalo Nicuesa, Viktoria Tremmel, Thomas Hoor, Amaia Vicente, Ector Rodriguez, Ruben Aubrecht, Maria Anwander, Zuhar Iruretagoyena, David Martinez. Während Barbara Husar und Hubert Dobler derzeit noch in Bilbao sind, verbrachten die beiden Spanier Leire Munoz und Nicolás Laiz die letzten Monate in Bregenz. Die beiden Spanier präsentieren in der K12 Galerie ab Donnerstag, den 29.10 ("From the Insides", Vernissage 20h) bis zum 4.11.09 einen Teil der Ergebnisse ihres Stipendienaufenthalts. Die Künstlerin Leire Munoz reflektiert in ihrem neu produzierten, rauminstallativen Objekt die wechselseitige Bedingtheit von Stillstand und Fortbewegung. Nicolás Laiz collagiert in seinen malerischen Arbeiten auf Leinwand patchworkartig die Realität seiner Herkunft mit den neuen, aber ebenfalls identitätsstiftenden Eindrücken seines Aufenthalts in der Ferne.
Winfried Nussbaummüller (KUB, Kurator des Künstleraustauschs)




Text: NICOLÁS LAIZ

STUDY FOR MOMUMENTS I, II III

What did Jorg Immendorf say on painting? That “the enemy of painting within painting is its own best friend.” Or what about Albert Oehlen? “To critique painting by painting means” furthers the life of painting. Therefore, according to Kippenberger, “You are not the problem, it’s the problem maker in your head.”
I have two working aphorisms for this show: “A picture is just a pathetic attempt to do justice to an image” and “Lack of originality is made up for by craftsmanship.” Of course both are tinged with irony. The first one refers to the exhaustion (according to postmodern theory) of aesthetic strategies in the task of making a picture today — and with picture we mean storytelling or the narrative. Painting is perfectly suited to storytelling in terms of its durational process and compositional highlights, although it is communication without words. And we can’t argue with this because we have centuries of religious storytelling courtesy of painting to back us up. However, nowadays what typically happens is we end up with an image — and with image we mean information.
To cut the long story short, what we have is just the surface and not the substance. Or worse, what we get are merely “infobytes” that are easy to contextualize into comfortable labels and commodifiable as stock ideas. Like for example predictable work that can be tagged as “Identity Art” or “Social Realism” or “Relational Art” or “Photorealism,” so on and so forth.
Therefore to cover up the lack (this is the second aphorism), artists tend to just focus on the obvious and what’s easiest to do (especially when talent is natural), rather than really putting art through a wringer. And so, I wanted to kick out all the stragglers in my paintings, put them out of the picture plane, and bring them to our own brutal reality.



Text: LEIRE MUNOZ

Motion:
 
for the distinction between going and being.

My project, marks the process  as the main hub of of my studio, for that I am particularly interested in creating several installation pieces around the concept of experiential, and circuits or mechanisms of action of the subject from its environment.
Situated in space between the subject and its environment, then where is the sense and try to decipher the mechanisms of inter action, trying to see what survives essentially intact in the subject's life experiences in that process that tries to keep her identity that differentiates you from your environment, while it nourishes.
This cognitive process and added imaginary coupling, this need for self-definition and how it becomes distinguishable unit.
The constant creation of meaning and essence of the experiential to the environment from the identity. This is what we describe as a permanent absence: creating a meaning constantly missing, have no pre-existing or given.
Space as a distinguished and nurturing environment from the perspective of a constantly changing identity before the meeting that it overcomes and make it unviable maintaining intact.
Analyze the continued fighting encounters with the environment, treating them from a perspective that is not intrinsic to the meetings themselves through art and the plastic form, sculptural space as a result of the experiential subject from its environment to the world.
All this would be reflected in my artistic modus operandi in the art object as a result of such action as cognitive and cognitive radio and the observer as a generator of new units and new discourses of identity. Action autopoietic of artistic procedure.
This pickup elements common to daily life with the changes needed to touch the sense and the connectivity between real space and experienced space.
Connectors self referential to the subject and his environment.
Memory and repetition as constant elements.
Material forms that evoke the intimate space of places and situations experienced, experienced in building real-time time spent, and his deconstruction of space.
Understand my surroundings and the way I proceed with it, collections of knowledge, analyze the mechanism of mechanical faced the individuality of the being and the ability to suspend the circuit and disposes the wall as support, it is decontextualized , raising it to observe it able to deal with it. It is participatory and acquire a critical attitude to the extent that it is named. Watch them interact with the objectively subjective learned.
This is done by arranging an orderly and tried to see how much of it escapes the vision and only finds its place between the subject and what you see. Seek other metaphysical approach to common subject matters in everyday life.

Studies
2009
Thesis developed in the department of sculpture, UPV / EHU. Leioa.
2007
Bachelor of Fine Arts, UPV Leioa.

Scholarships and awards
2009
Scholarship Bilboarte resident.
Getxo Wanted First prize for the documentary "Norabide guztiak.
2006.
Erasmus Grant. Marseille (France)

Group Exhibitions
2009
J'aime ton Q, exposition Photographique Polikarpov. Marseille.
2008
Selected in Ikas-Art 08. First meeting of university art. Güeñes - Bizkaia
Cutaway Ertibil 08. Young Art Traveling exhibition. Provincial Council of Bizkaia.
The catalog of this exhibition is the exhibition. Sala Araba, Vitoria-Gasteiz.
2007
Toutes directions, galerie Montgrand, Marseille
Getxoarte emerging arts hall 07 Culture Hall of Getxo, Bizkaia.
Copizine_bilbao. Curated by the collective Damas. Bilbao Abyssal space.
2006
06 Getxoarte emerging arts Hall of Culture Hall of Getxo, Bizkaia.
Fine Arts. Sanz Enea, Zarautz.

Closing time. Closing Time XV. Paris edition of the Biennale project led by Inigo Cabo and developed in Bilbao Art, Bilbao.
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