Chinese European Art Center Exhibition

Grado Cero_ by Izaro Ieregi (Bilbao).

Chinese European Art Center is pleased to announce Izaro Ieregi’s first solo exhibition in China _Grado Cero_ .
The process of classifying and ordering a series of images found in the archive of "Lazkaoko Beneditarren Fundazioa" prompted me to rethink and decontextualize the actions represented, putting the focus on the performative character of these same. This project it is been a journey from the resistance to the pursuit of pleasure; has placed me in front of issues like the art structure versus culture system; identity built by ideology or built by the exercise of everyday life; when are we in the ideology of the subject and when are we in the ideology of art. To sum up, when is about the sign and when is about the symbol.
中国欧洲艺术中心十分荣幸地宣布毕尔巴鄂艺术家伊扎罗 莱尔基个展《零度》展览开幕。
分类和整理图像的过程驱使我重新思考它们所代表的行为,将其去语境化,而把重点放在表述行为的特征上面。这一系列图像是在 Lazkaoko 本笃会基金会(本笃会是天主教的一个隐修会)的档案中找到的 。该项目是一个抵制寻欢作乐的过程;它让我置身艺术结构对抗文化体系等问题之前;由意识形态或者日常活动所建立的身份;我们何时身处主体的意识形态中,何时身处艺术的意识形态中。总而言之,何时关乎符号,何时关乎象征。
This Project comes from a research project that I have been developing for more than a year. I recorded different group of women performing actions based on a score written from a selection of images showing different actions, in order to investigate the de-ideologization of the images represented. In Bilbao first and then here in Xiamen, always following the logic of re-enactment.
For me it is important that if I want to treat subjectivity in social groups, how is it created, how is it held to question the representation and perception of images, to leave my own context to see reality as signs, that is, return to degree-zero. All this applied to the relationship between the body, the action and the gesture. Analyzing the body as an expression, as a gesture. It is said that the gesture is the semiotic evidence of language, that degree-zero we are talking about. The body reveals itself as a sign. Some figures that follow a score, and repeat the action in loop, in a non-naturality, even letting you see the hand that directs, literally.
Approaching this same exercise repeatedly, in various contexts, helps me to dissociate itself from my goal and to focus on getting different results. The fact that all the figures are women is not a casual issue. The body that acquires presence in the actions that we understand as real (In this case the archive images) it is the man ones. I want to impose on the viewer the woman's body with all its carnality. Through the imitative component of re- enactment and the use of repetitive strategies come to non-naturality and make way for new signifiers.
Chinese European Art Center