'SKINS'-CARLOS IRIJALBA

'SKINS'. -CARLOS IRIJALBA

GALERIA MOISES PEREZ DE ALBENIZ

24 enero – 14 marzo 2015

La Galería Moisés Pérez de Albéniz se complace en presentar la primera exposición individual de Carlos Irijalba en Madrid, Skins. Esta exposición parte de una visita realizada por el artista en el año 2010, en plena crisis económica, a una compañía dedicada a la reproducción 3D, que colaboró a finales de los noventa en la fabricación de las réplicas de varias cuevas de la cornisa Cantábrica cerradas al público, como es el caso de Altamira. Esta decisión, medida de protección ante los posibles daños que pudieran sufrir las pinturas rupestres, motivó que se realizaran réplicas de algunas de ellas para después convertirlas en museos. Otras tantas, sin embargo, no fueron reproducidas.

Cuando la compañía cayó en bancarrota con la llegada de la crisis española, los escaneos se almacenaron en disquetes de formato ZIP, un formato ahora obsoleto, quedando relegados a una suerte de arqueología digital. El escáner en tres dimensiones no es sensible a la imagen, es decir, su ultrasonido lee sólo la forma y el volumen, por lo que en ellas no aparece la intervención humana. Los escaneos reflejan única y exclusivamente la piel de la cueva, sin información cultural, sin color, sin representación. Con este trabajo, Carlos Irijalba defiende la idea de que cada traducción conlleva una pérdida, la pérdida de la technè, que es, paradójicamente, lo que hizo relevantes estas paredes. En definitiva, una Historia que se borra a sí misma.

Así, Skins utiliza el lenguaje de la réplica haciendo visible su estructura, trayendo las paredes a un estado anterior a cualquier intervención humana, pero con la pérdida de la traducción tecnológica, liberándola de la carga histórica y cultural adquirida, negándose a representar otra cosa que a sí mismas. Un proyecto que invita a reflexionar sobre la necesidad de los objetos y lo que hay en ellos de superfluo e imprescindible.

Carlos Irijalba (Pamplona, 1979), que acaba de finalizar el periodo de residencia en la Rijksakademie de Amsterdam, se gradúa en la Universidad del País Vasco y UDK Berlín en 2004. También ha participado en otros programas artísticos como el MA Studio Residence de Beijing y el ISCP de Nueva York en 2009.

Galardonado con la Beca Guggenheim Bilbao de fotografía 2003 y la beca de Artes Plásticas Fundación Botín 2007/08, así como el premio Purificación García 2009 , Generaciones 2009, y el premio revelación en PHotoEspaña 2010, ha expuesto en centros internacionales como el Herzliya Museum Israel, MuMa Melbourne o LMCC Nueva York.

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SKINS. 24th January – 14th March 2015

Galería Moisés Pérez de Albéniz is pleased to announce Skins the first solo exhibition of the artist Carlos Irijalba in Madrid. This project emerges from the artist’s visit to a 3D reproduction company in Madrid, in 2010, while it was in the midst of a full financial crisis. At the time, the company was involved in the reproduction of a replica of the interior of several ancient caves, located on the coast of Cantabria, which have been closed to the public since the late 1990s; as is the case with the Altamira cave. This decision, a preservation measure, designed to protect the caves and their paintings from possible damage, meant that replicas, of a select few, were developed so that they could be recreated in museums.

When the financial crisis hit Spain and the company went bankrupt, the scans were saved as digital data in ZIP disks, a currently out-dated system, and now a kind of digital artefact. The 3D scanner system used was not image-sensitive, which means its ultrasound technique only reads form and volume, with no human intervention. The scans only replicate the skin of the cave, with no cultural information, colour or representation. With this artwork, Carlos Irijalba stands up for the idea that all translations imply loss. In this case, paradoxically, the loss of techné, precisely what made these walls relevant. History erased by itself, as such.

When the financial crisis hit Spain and the company went bankrupt, the scans were saved as digital data in ZIP disks, a currently out-dated system, and now a kind of digital artefact. The 3D scanner system used was not image-sensitive, which means its ultrasound technique only reads form and volume, with no human intervention. The scans only replicate the skin of the cave, with no cultural information, colour or representation. With this artwork, Carlos Irijalba stands up for the idea that all translations imply loss. In this case, paradoxically, the loss of techné, precisely what made these walls relevant. History erased by itself, as such.

Skins uses the replica’s language to make structure visible, bringing the walls to a stage prior to any human intervention, but with the loss of any technological translation. (Meaning a release from any historical and cultural weight acquired throughout time and a refusal to represent anything else but themselves). Thus, this project invites you to reflect on the necessity of objects, their appropriateness or superficiality.

Carlos Irijalba (Pamplona, 1979), who has just finished his residence in The Rijksakademie, Amsterdam, graduated from the University of the Basque Country and UDK Berlín in 2004. He has participated in artistic programs such as the MA Studio Residence in Beijing and ISCP of New York in 2009.

Awarded the Guggenheim Bilbao Photography Grant in 2003 and the Botín Foundation Art Grant in 2007/08, he has also received the Purificacion Garcia photography first Prize and the Revelation PhotoEspaña Prize, among others. Irijalba has held exhibitions at International Art Museums, including the Herzliya Museum Israel, MuMa Melbourne and LMCC New York.

GALERIA MOISES PEREZ DE ALBENIZ

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