Gipuzkoako Diputazioa - KULTURA
Gipuzkoa ingurune kulturaniztunean dago: dantza, zinema, literatura, pintura... kultura. Kultura Zuzendaritzaren egitekoa da kulturaren arloko esperientzia horiek guztiak sustatu eta zabaltzea, bai eta kultura ondarea, museoak eta artxiboak babestea eta sustatzea ere.
PROJECTS IN WHICH I PARTICIPATE
A TOWN THAT MAKES YOU HAPPY #1
ARTE GARAIKIDEA EREMU PUBLIKOAN
Bitamine Faktorian forma hartutako ekimena da A Town That Makes You Happy, eta esku-hartze, ekintza eta lantegi parte-hartzaileei esker eremu publikoan eragin positiboa sortzea du xede. Jakin dakigunez gizartea eraldatzeko tresna boteretsua dela artea, hiri-paisaia aldatu egin nahi dugu, inguratzen gaituena edertzeko. Adibidez, gris-kolorea besterik ez zegoen tokietan koloretako arrastoa uztea, altxatutako horma zatietan mapak kartografiatzea, edo iragarki oldarkorrez jositako paneletan mezu adeitsuak islatzea. Aipatutako adibideak lan iragankorrak diren arren, pertsonen eta tokien memorian diraute luzaroan. Proiektu honek artea ohiko tokietatik at eramaten du, jendarteak ahaztuta dituen edo haientzat ikusezinak diren tokiak hautatuta, tokiotan nekez antolatzen baitira jarduera edo ekitaldi ikusgarriak.
A Town That Makes You Happy ekitaldiaren lehenengo edizioak arte garaikidearen inguruko hainbat esku-hartze proposatu zituen gure egoitzaren auzoa den Larreaundin. Ekimen horretan, eskualdeko artisten, bizilagunen, denden eta enpresen iritziak bildu ziren, auzo erakargarriago eta lagunkoiago bat diseinatzeko.
2018ko urriaren 6an (larunbata) gauzatutako proiektua Loiolako Iñigo kalean garatu zen; hots, Bitamine Faktoriaren egoitzaren kalean. A Town That Makes You Happy proiektuaren helburua eremu publikoan eta pertsonen umorean eragin positiboa sorraraztea da, tokiko, Gipuzkoako eta Euskadiko emakume sortzaile talde batek auzorako pentsatutako esku-hartze, ekintza eta lantegi parte-hartzaileen bidez. Eguna girotzeko, herri-bazkari bat antolatu zen, bazkalondo eta guzti, bai eta Sara Mansilla eta Moon djs musikariek eskainitako zuzeneko saio bat ere.
ARTISTA GONBIDATUAK
Garikoitz C. Murua, Igor Rezola Iztueta, María Rios, Moon Djs, Nerea Lekuona, Pili Aguado, Ramon Zabalegi, Sara Mansilla, Susana Blasco
ERAKUNDE HAUEN BABESAREKIN
Kutxa Fundazioa / Irungo udala / Eusko Jaurlaritza / Gipuzkoako Foru Aldundia / Rehabite
LAGUNTZAILEAK
Cepinsa / Ondarribi Grafikagintza / San Miguel / Atrezzo / Restaurante Tetería Kus Kus
ESKER ONA
Artista, bizilagun, dendari, babesle eta laguntzaile guztiei auzo zoriontsuago bat irudikatzeagatik
A TOWN THAT MAKES YOU HAPPY #2
ARTE GARAIKIDEA EREMU PUBLIKOAN
Bitamine Faktorian forma hartutako ekimena da A Town That Makes You Happy, eta esku-hartze, ekintza eta lantegi parte-hartzaileei esker eremu publikoan eragin positiboa sortzea du xede. Jakin dakigunez gizartea eraldatzeko tresna boteretsua dela artea, hiri-paisaia aldatu egin nahi dugu, inguratzen gaituena edertzeko. Adibidez, gris-kolorea besterik ez zegoen tokietan koloretako arrastoa uztea, altxatutako horma zatietan mapak kartografiatzea, edo iragarki oldarkorrez jositako paneletan mezu adeitsuak islatzea. Aipatutako adibideak lan iragankorrak diren arren, pertsonen eta tokien memorian diraute luzaroan. Proiektu honek artea ohiko tokietatik at eramaten du, jendarteak ahaztuta dituen edo haientzat ikusezinak diren tokiak hautatuta, tokiotan nekez antolatzen baitira jarduera edo ekitaldi ikusgarriak.
A Town That Makes You Happy proiektuaren bigarren edizioak muina mantendu egin zuen (eremu publikoan parte hartzea, alegia); formatua, berriz, aldatu. Oraingoan, enpresa handien kanpainetarako erabili ohi diren hainbat publizitate-eremu okupatzean zetzan proiektua, modu iragankorrean haietan esku hartzeko, artelanen ohol izan zitezen. Hausnarketarako gonbidapen diren eta nahasmena/harridura sorrarazten duten lanen bidez, komunikazioaren eta kontsumoaren inguruko kontzientziazioa suspertu nahi zen proiektuarekin.
Abenduaren lehen bi asteetan zehar, lanak eremu publikoan jarri ziren ikusgai, artearekin bateragarriak izan ohi ez diren euskarri eta tokietan. Programazioa osatzeko, emakume artista gonbidatuetako laurekin eta Transbitarekin topaketak antolatu ziren. Azken hori Bitamine Faktoriak sortutako karabana ibiltaria da, zeinak hiriko auzo eta kaleetan barrena Estíbaliz Sádabak egindako ibilbidearen lan audiobisuala erakusten baituen.
ARTISTA GONBIDATUAK
Anne Laure Boyer, Colectivo Redil De Arte Político (Iñaki Larrimbe y Rubén Díaz De Corcuera), Estíbaliz Sádaba, Marina Vargas, Zuhar Iruretagoiena
ERAKUNDE HAUEN BABESAREKIN
Irungo udala / Eusko Jaurlaritza / Gipuzkoako Foru Aldundia
LAGUNTZAILEAK
Auzo elkarteak Landetxa, Santiago, Urdanibia / Gorka Lomeña SLU / Ficoba
LUR AZPIKO FORMAKUNTZA
Autogestionatutako proiektuetara egokitutako formakuntza bat
Bitamine Faktorian bertatik bertara ezagutzen ditugu gaur egungo kultura esparruko testuinguru eta agertoki desberdinak; izan ere, egunero egiten diegu aurre proiektu independente bat kudeatzeak dakartzan oztopo eta zailtasunei, kultura bezalako sektore prekarizatu batean. Aspaldidanik, sektoreko hainbat eragilek eta profesionalek jarduera mota horren know how-a ezagutzeko interesa dutela ikusi dugu. Beraz, horrelako prestakuntza eskaintzea aukera bat da ezagutzak partekatu, antzeko kezkak dituzten pertsonen arteko harremanak sortu eta ekosistema bera indartzen laguntzeko.
HELBURUAK
Alde batetik, ohiko formakuntzei prestakuntza osagarria eskaintzea, enpresa kulturalaren ohiko ereduan sartzen ez diren proiektu autogestionatuetara bideratuta, hau da, beste errealitate, erronka eta zailtasun batzuei aurre egin behar dieten egitasmoetara.
Bestetik, kudeaketa-, komunikazio- eta diseinu-tresnak eskaintzea, proiektuak aberasteko eta beste kultura- eta arte-egitura batzuen hazkunde-aukerak areagotzeko, bai eta kultura- eta sormen-arloan interesa duten pertsonen prestakuntza bultzatzeko ere.
Programa osoak hiru atal osagarri ditu:
//// KULTURA-KUDEAKETA
Bitamine Faktoria proiektu independentea da, eta, halabeharrez, hazten eta kultura-errealitate eta politika desberdinetara egokitzen joan da. Atal honek gai hauek biltzen ditu: proiektu independenteen sorrera eta kudeaketa, jarduera mota horri egokitutako finantzaketa- eta administrazio-moduak, ereduak, profilak eta estrategiak, ebaluazioa, lankidetza eta sareak.
//// DISEINUA ETA IRUDIA PROIEKTU KULTURALETAN
Laburrean, diseinu-tresnak proiektu kultural eta artistikoetan, hau da, marka, branding-a eta ikus-identitatea. Gure proiektuei ematen diegun diseinuak eta irudiak gainerakoetatik bereizten eta kokatzen dituzte. Atal honetan diseinuaren oinarriak lantzen dira, koloreak eta tipografiak modu arrazoituan konbinatuz, proiektuak edo zerbitzuak sustatzeko irudi eta konposizio erakargarriak sortze aldera; bai euskarri inprimatuetan (esku-orriak, txartelak, kartelak), bai bitarteko digitaletan (webgunea, bloga, mailinga, sare sozialak).
//// KOMUNIKAZIO KULTURALA
Kultura-erakundeetan komunikazioa tresna estrategikoa da. Atal honetan, kultura- eta arte-arloetako komunikazioaren berezitasunak lantzen dira, kultura-edukiak ahalik eta ondoen komunikatzeko jardunbide egokiak aztertzen dira; bai eta kultura-produktuak eta -zerbitzuak merkaturatzeko tresnak eta estrategiak, komunikazio-plan baten diseinua eta komunikabideekiko harremana ere.
DATAK
2021eko martxoaren 15etik 18ra
15:00etatik 19:00etara
Partaide-kopurua: 10 lagun
NON
Tabakalera | Kultura Garaikidearen Nazioarteko Zentroa
Andre zigarrogileen plaza, 1
20012 Donostia
HIZKUNTZA
Gaztelania
IZEN-EMATEA
Doakoa, lekuak bete arte
Lekuak agortuta. Itxaron-zerrenda zabalik
Izena emateko orria
EPEMUGA
Martxoaren 12 arte
+INFO
faktoria@bitamine.net | jaitsi informazioa
Emotional Atlas of Bidasoa
Atlas: A collection of maps, mainly geographical, presented in book or notebook form.
This project arises as a continuation of the research carried out thanks to the 2019 Ribera Grant awarded by Irun City Council, which was entitled "Emotional Cartography of Bidasoa".
The main idea revolves around the decision to carry out a practical mediation exercise on the contents researched. Not only to highlight different characters, events, hobbies, etc., but also to work on it in a transversal way with different artistic disciplines.
We are sure that research of these characteristics that deals with interculturality, in a border context at the moment we are living in, provides more plural results in the revision of many aspects of the historical memory of this territory. "In a time of globalisation, the most revealing object of study, the most questioning of ethnocentric or disciplinary pseudo-certainties is interculturality" (Canclini, 2006: 101). Interculturality is the tool with which we have to work for integration. Dialogue, in order to understand and accept our diversity as cultural richness and intangible world heritage, is the basis of our coexistence.
We have called it an atlas, because it presents a series of educational booklets combined with the work of the illustrator Elena Odriozola, highlighting relevant social aspects. Ten small notebooks that tell stories of a geographical space written in an elegant way by María José Noain Maura and with a language that is accessible to all kinds of audiences.
Texts: Maria José Noain Maura
Coordination and layout: Helga Massetani Piemonte
Ilustrations: Elena Odriozola
Traduction: Joxan Elosegi
LG D 00104-2022
2022
Bibliography
LEHENSUGEA
MATRIZ SECA
Jose Iglesias Gª-Arenal, Saray Pérez Castilla, Miriam Rodríguez Morán
Lehensugea reflects, through a video-essay, on the use of nature and the frontier in the symbolic production of European nation-states. The record of a trip to the top of Larrun, on the border between Spain and France, is a gateway to the crossing between local myths and the fantasy of European colonial structures.
The La Rhune train was built in 1924 to access the summit from the Basque-French town of Sara. Mainly dedicated to tourism, it is a historic rack railway, unique in the Basque Country. With this infrastructure, access was made to a space considered mythical, inhabited by witches and by lehensugea , a seven-headed serpent that spat out the precious metals that were found inside the mountain, forming fiery rivers that devastated the forests of the area. . The train winds its way up like a mythical-modern creature that reinvents the mountain as a demarcation of the border and monumental its nature and landscape from the symbolic extractivism that fuels the mythical construction of the nation.
Before embarking on the physical journey, the research will start from a triple approach to the mountain and the border through three "texts", based on The three ecologies of the psychoanalyst and philosopher Félix Guattari to reflect on the relationships that mark the I with the self, the self with the other, and the self with nature.
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*Matriz Seca is a line of work activated by Jose Iglesias Gª-Arenal, Saray Pérez Castilla and Miriam Rodríguez Morán to work on the structures that maintain a territorial organization based on processes of material and symbolic extraction.
Jose Iglesias Gª-Arenal has a master's degree in Curation from the Whitechapel Gallery and London Metropolitan University and another in Art Praxis from the Dutch Art Institute. He has worked as a researcher at the Whitechapel Gallery and as a coordinator of independent research projects. He has curated meetings and exhibitions in Spain, Western Sahara and Argentina. He runs the curatorial platform MAL.
Saray Pérez Castilla (Burgos / Bilbao, 1987) is an artist and researcher. She has been awarded internationally with different scholarships, awards, residencies and exhibitions, among which are: Archives, necessary records , Incontro di artisti in Salento (Italy), ERTIBIL, Provincia 53 (CDAN-MUSAC), Fundación BilbaoArte, BARRIEK, Linz IMPORT project (Austria), and Invisible Landscapes (Sahrawi refugee camps, Algeria). In 2019 she began an exploration as a co-curator, with the project What do artists think about? South-south-north dialogues to go around the world between the Basque Country and Ecuador .
Miriam Rodríguez (Abadiño, 1983) has a doctorate from the University of Oviedo, specialized in Aesthetics and Theory of Arts (DEA 2010) and Social Studies of Science and Technology (master's degree from the University of Oviedo and the University of Salamanca, 2009 ), and graduated in Philosophy from that university (2007). She currently works in the cultural and artistic sector developing projects, exhibitions, training and research. She has given multiple lectures and has several publications.
CAYOLAR
Cayolar (mendiko artzain-borda, xibereraz) "bizitzearen" gaiari buruzko ikerketa eta egoitza ibiltaria da. Pirinioetako katearen bi aldeetan, beraz, mugaz gaindiko izaera batetik, 20 laguneko talde bat biltzen du esperientzia kolektibo batean; guztiek elkarrekin hainbat alorri heltzeko asmoarekin hala nola praktika berriri, esperimenturi eta hausnarketa sakon ugariri (honako alderdien arteko loturak, besteak beste, kultura eta lurraldea, kultura eta politika, kultura eta nekazaritza, kultura eta landatartasuna).
Egonaldia bi astez garatu genuen, 2 saiotan banatuta. Lehenengo "geldialdia" Aspe haraneko Urdos udalerrira heldu ginen, "Le Larry" izeneko mendi-bordaren inguruan, 1.700 metroko altueran. Espazio-denbora horrek aukera eman digu naturguneak atzeman, artzain-jardueretara hurbildu eta ezagutzak partekatzeko, baina baita galderak egin, perspektiba berriak aurkitu, arazoei irtenbide berriak eman eta istorio berriak eraikitzeko ere. Udako bazkaleku hartara iristeko, ia hiru orduko ibilaldia burutu behar izan genuen, puskak asto baten gainean jarrita. Bigarren etapak gure praktikak eta ikerketak berriz aztertzeko beta eman zigun, historia komun bat sortu eta gure memoriatik abiatuta, diziplina anitzeko instalazioak ekoizte aldera. Uharte Zentroan garatutako egonaldian zehar, igarotako denborari esker, tokiko kultur eragileekin batera hausnarketa areagotuak azaleratu ziren. Nola diseina eta aktiba dezake proiektu batek landatartasunari buruzko beste ikuspegi bat?
Cayolar proiektua TRAM-Ek bultzatutako ekimena da. Natacha Sansoz artistak sortu zuen elkartea 2018an, Oloroe-Donamarian. Elkarteak landa-eremuko bizipenak eta ikerketa bultzatzeaz gain, artistei sormen-testuinguru ezohikoak eskaintzen dizkie, zenbait leku berezi esploratzearekin lotuta. Izan ere, zuhaitz bat, mendi-borda bat edota txapel fabrika bat artisten eta publikoaren arteko topaketarako gune aproposak izan daitezke, elkarrekin zerbait sortzeko.
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Natacha Sansoz (Carcasona, 1981) Pirinio Atlantikoetan bizi eta lan egiten du.
Natacha Sansoz artista erlazionala da. Bere praktika artistikoa artea, artisautza eta performancea gurutzatzen dituzten esparru artistikoetara bideratu du hainbat urtez. Pertsonen partaidetzak berebiziko garrantzia du bere sorkuntza-prozesuan.
2018 eta 2019 bitartean, sormen-egoitza ibiltari batekin esperimentatu eta "A Freaky Wedding in the Empty Shack" izeneko proiektua sortu zuen. Nolabaiteko epopeia honek ezkontza arrotz baten istorioa kontatzen du. Pertsonaien kontakizunak iragandako herrialde ezberdinetako topaketak eta kulturak islatzen ditu; Europako errelato komun bat idaztera engaiatuta garen heinean, kontinentearen nondik norakoak marrazteko saiakera moduko bat.
2018 eta 2020 bitartean, etnologo gisa, Europako ehun-zuntzei lotutako ondare inmaterial bizia ikertzen hasi zen, eta xede horrekin TRAM-E elkartea sortu. 2019ko uztailean Georgian, sormen-egoitza baten esparruan, 12 metroko feltrozko artilezko pieza bat eskuz lantzeari ekin zion, artisau georgiar, azerbaiyar eta turkiarren laguntzarekin.
DENOK GUTXI
Ane Azkona
Saiakera honek ezintasun teknikoa mekanismo-artistiko eta performancearen demokratizazio gisa hartzen ditu, bertakoa eta arrotza uztartuz. Nolabait glokalaren ideia arakatzen du proiektuak, indarkeria aitzakia hartuta eta bertako eta arrotzaren arteko irudi-talka ariketa xume batetik abiatuta.
Kalean aurkitutako objektuekin artefaktu eramangarri bat eraiki ondoren, bideoperformance-ekintza izaera hartuko du instalakuntzak, slackline teknika baliatuz. Instalakuntza hori objektu erlazionala da, emaile eta hartzaile anitzen negozioazio-gune geometrikoa, non espazioarekin harremanean dauden elementuek elkarrekiko mendekotasunez jokatzen duten. Bertan aurkezteko formak agerraraziko dira, aldarrikapen-tresna ohikoenetako batzuen elementuen galdezka, berezko ikurrak, keinuak eta esaldiak irakurri ahal izateko. Horretarako, kultura herrikoiaren eta pop-kulturaren iruditeria kolektiboaz baliatuko da, artxibo pertsonalarekin batera. Finean, hurbilketa sozial honek harreman berriak proposatu nahi ditu testuinguruan kokatu eta bera berridazteko.
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Ane Azkonak (Donostia, 1997) EHUn burutu zuen Arte Ederretako gradua eta Atenaseko Arte Eskolan osatu. Bilbo eta Atenas hiriek ikasleku izanik, euren arte-sistemaren eta akademiaren egoerak eragina izan du bere lan artistiko eta sorkuntza-estrategian. Zehatzago, bere jardunak alderdi erlazionalak, materialak eta espazialak ditu abiapuntu, iruditeria kolektiboan eta pop-kulturan esanguratsuak diren elementuen arteko topaketa kontzeptualak behartzeko. Egun, eremu eta memoria publiko eta pribatuen arteko muga aztertzen dihardu, tradizioz aldarrikapenerako erabili izan diren dispositiboen bitartez arte-lurralderako espazio produktiboa sortu nahian.
RAKEL GÓMEZ VÁZQUEZ
Piedra rima con hiedra, mármol rima con árbol
Piedra rima con hiedra, mármol rima con árbol is a visual essay on the advance of the red palm weevil and the loss of this colonial symbol of the Indian palm trees in the landscape, as a revelation of the history of our time. The Basque hymn Agur Jauna, in its musical, textual and symbolic dimensions, will be taken as the centre of the conceptualisation. This emblematic piece of Euskal Herria is a hymn of great symbolic weight in our culture. In the progress of research from artistic practice on monuments and biological plagues, it has been observed how decolonial readings continue to exercise an extractivist and colonial role over plants. While they have always travelled, we know that our influence has accelerated their dispersal and now also their disease. However, conservation and care currently only takes into account the native flora. Therefore, the disruptive and symbolic capacities of the hymn on these exotic plants will be used in the production of an installation.
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Rakel Gómez Vázquez is an artist and researcher, with a degree in Fine Arts and a master's degree in INCREARTE from the UPV/EHU. She has completed her training at the Accademia di Belli Arti in Florence and the Universidad Di Tella in Buenos Aires; she is currently writing her doctoral thesis. She is a founding member of the art research collective Armar; she is a member of TXT lab and the research group AKMEKA (Arte, Kultura eta Media), and also collaborates with theSIA. In her career as an artist, she has received several grants and prizes for creative work.
Her production understands creation as research and is articulated as an expanded documentation. She explores the landscape as a cultural construction, which portrays political-social issues of memory and identity, investigating the colonial influence on the visual and symbolic construction of origin and identity, and analysing its validity and projection in the landscape. In addition to consulting archives, libraries and visits to museums, he combines fieldwork and the tools with which he habitually develops practical work through drawing, engraving, installation, photography and photosensitive analogue techniques such as cyanotype.
rakelgomezvazquez.com
CHOCOLATE POT
The fourth edition of the HAU COMPETITION FOR THE DESIGN OF TRADITIONAL BASQUE OBJECTS proposed the chocolate pot as a piece to be reviewed, a vessel used to prepare chocolate. This tubular-shaped kitchen object, convex or ventruda in its lower half, smooth in the part of the mouth, was fitted with a handle. At the top, there is a lid with a hole in the middle for the wooden beater or grinder, which consists of a long bar that protrudes through the opening in the lid so that it can rotate on both sides, beating the ounces of chocolate immersed in water or milk until they melt and thicken the whole. Some of the pieces were placed on a base or on small legs.
The jury was made up of Agurtzane Garai (head of mediation at San Telmo Museoa), Fermín Leizaola (director of the Ethnography Department of the Aranzadi Science Society), Iosu Rodriguez and Jon Lamborena (IBILI Menaje), Elisabeth Urrutia (lecturer and researcher in industrial design at the University of Mondragon), Rafa Gorrotxategi and Carlos Sánchez (representing Bitamine Faktoria) awarded the prize to the NAHUA project, presented by JUNE LIZASO ODRIOZOLA and MARTA LOIDI URQUIZU.
The NAHUA project skilfully and sensitively combines the technical, functional and formal aspects of the object, proposing a design that stands out for its richness in the language used, maintaining fidelity to the original object and updating some of its main characteristics to current uses and customs.
The exhibition showing the winning project along with the most outstanding ones can be visited during the summer at San Telmo Museoa.
Bitamine Faktoria, organiser of the competition, would like to thank the collaborating institutions, the members of the Jury and the people who took part for their interest in this edition.
Prize
NAHUA - JUNE LIZASO ODRIOZOLA and MARTA LOIDI URQUIZU.
Special Mention
MOKAMA - NORA GONDAT UNZALU and EIDER SANCHEZ IMAZ
Outstanding finalist project
LA TXOKO - Aitor Marauri Jauregui, Oier Arevalillo Labayen
Finalist projects
GOXOPOT - Miren Loiti Jaca, Ibone Aboitiz Anakabe
IKATZ - Paula Iglesias Izcue, Eider Gabirondo Lopez
EDONORA - Maitane Urkiola Martinez, Ane Barandiaran Lopez de Audicana
GOXOKO - Malen Deniz Ayerbe, Mireia Elexpe Román
K'AKAW' - Arrate Serrano Otadui, Uxue Cabañes Iturbe
Photos: Oskar Moreno
MICHEL HUNEAULT
Michel Huneault (1976) is a documentary photographer and visual artist. Her work focuses on issues related to development, trauma, migration and other complex geographical realities such as climate and health changes. Michel holds a master's degree from the University of California at Berkeley, where he was Rotary Peace Fellow, investigating the role of collective memory after large traumatic situations. Before focusing on photography, he worked in international development for over ten years.
During his creative residency, Michel Huneault worked in collaboration with the sound artist Johann Mazé (France). Following further work on this topic -De la Frontière (2021), Roxham (2017), Monnaie d'échange (2016) and Occident Express (2015)- Michel continued his research on the idea of "border", this time working on both sides of the Bidasoa River, as well as in the Pyrenean mountain ports of the region. During this period he laid the foundation for a new work that deals with the multiple and simultaneous realities of a place/time that can be banal for the legal European citizen, idle for the tourist or artist who is by the way, but tense for the immigrants trying to cross it with the police presence dedicated to that cause. The artistic piece, in the post-production phase, will be presented publicly in the summer of 2023, in Canada, in the Basque Country and on the Internet.
Cultural exchange program Saison Quebec - Pays Basque organized by Etxepare Euskal Institutua and the Ministère des Relations internationales du Québec.
michelhuneault.com]
5BIDE
The mountain opens our hearts, fills our lungs, washes our eyes and soothes our heads. And in the mountains we also often get lost, sometimes intentionally and sometimes involuntarily. The documentary Bost Bide will cover five excursions through the natural parks of the Basque Country. In each one of them, a slow, deep and real conversation, without a stopwatch, which reveals a small truth. Because the mountain, step by step, is about telling truths. To do this, we will put five couples who do not know each other out of place, walking a pedestrian path over new terrain, discussing when necessary, but above all, reaching a consensus. In short, the documentary aims, through these five micro stories, to return to the purity of mountaineering, to share the path.
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Leire Egaña, unable to stop dreaming for a minute, found her escape in film and studied at the London Fim School. Today, audiovisuals have become an activity for her. She has the gift of personalising animals and animating people at a glance. And the responsibility attributed to this power is her enthusiasm for directing and camera work at the cooperative production company Bira Produkzioak.
IOCARI
Iocari is a contemporary dance-theatre piece in which a spinning roulette determines the argumentative thread of the piece.
of the piece. The performers limit themselves to playing and following the random order imposed by the roulette, while a countdown descends.
a countdown descends. Iocari fills the streets with prizes, the corners with luck and the faces with impossible smiles.
impossible smiles.
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Company X is formed by Ada Continente, Saray Garzia and Nadia Yagoubi, and was born in 2018 with the desire to make dance from and to new places.
dance from and to new places.
LILIKATE
In the struggle for gender equality, the steps achieved by each generation of women are the starting point for the next, and the new generations that take over and continue fighting are as important as the past generations that have laid the foundations.
The LILIKATE project highlights the intergenerational transmission of the collective memory of the feminist struggle, from one woman to another, from mother to daughter, and does so through a collective and participatory process of research and creation, which culminates in the production of an avant-garde video dance piece.
The LILIKATE project is developed in three phases and involves mainly three groups of people: an artistic collective related to dance, an audiovisual creation collective with a gender perspective and a collective of older women who have a history of feminist militancy.
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B>Egia Zinema was founded as a non-profit association in the field of research, resolution and realisation of audiovisual projects with a social and environmental focus. Without forgetting the artistic vision and entertainment, we want to attract the public's attention to social and environmental realities, to the issues that need to be disseminated.
In the last 4 years, it has produced a series of short films and documentaries in which themes such as the surveillance and invalidity of the sea, the distribution of gender violence, the guilt of the victims, etc. have been interrelated.
NAŠE HEROJSKE SESTRE / NUESTRAS HERIOCAS HERMANAS
Project Naše herojske sestre/Nuestras heroicas hermanas is based on one archive document found during my recent research about Antifascist Feminist Movement (30s and begging of 40s) in ex-Yugoslavia countries.
This document is proof that during these years there was communication between antifa women movements In Yugoslavia and Spain.
The document is reporting about struggle and mistreating prisoners in Spain prisons, about concrete names of female guerrilla fighters, as well as political positioning upon United States imperialistic politics and its connection with Franco regime.
Research would be focused on using visual archive materials from this period from cinematheques and archive, but also on creating new ways of communication, imagining future, recreating maps and recipes – rethinking body position in illegal political work and usage of artificially created gender roles for subverting realities.
Using found document as first step we are re-imagining future, at the same time we are re-thinking archive as manual for the future. As before feminist movements were thought internationally, the same as other struggles against fascism and capitalism, this work wants to bring this question back to reality – by its content but also by methodology of working with material.
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Karla Crn (1989. Yugoslavia) is dramaturgue and film worker exploring politics of images and sound through various formats and work conditions. Her video works have been exhibited in festivals and galleries various countries (Balkan countries, Lithuania, Netherlands, Spain, UK…)
She is part on collective Unwar Space Lab which is working on topics connected with war, destruction and reconstruction.
She is one of founders of Unseen initative dealing with revitalization of cinema and other public spaces and part of Za K.R.U.H Initiative that is engaged in question of workers rights.
CALLS IN WHICH PARTICIPATES
IZOKIN #7
CROSS-BORDER CREATION GRANT
Izokin supports projects of individual and collective creators as well as initiatives of permanent production spaces and independent cultural representatives, thus strengthening the creative fabric of the area and reinforce its greater dissemination among citizens.
The grant will be aimed at the production of works in visual, audiovisual, performing arts, music, literature, design, comics or any other creative discipline of individual creators and/or groups; projects with innovative and fundamental character and activities with flexible contents. This method is addressed to individuals or groups that carry out their activity preferably in the cross-border territory of Euskal Herria.
The graphic creation of this call is based upon an image with the following license:
CC BY-NC 4.0 2015 / KUTXATEKA / Fotocar / Martín Ricardo
WHAT DOES IT CONSIST OF?
Production of works in visual, audiovisual and performance arts, music, literature, design, comics or any other creative discipline. Taking responsibilities of cultural projects: management of events and/or cultural spaces, the exhibition of works.
WHO CAN RECEIVE IT?
Individuals and groups of individuals with no age limit, who carry out their activity preferably in the territories of Gipuzkoa, Navarre and/or the Agglomeration community of the Basque Country (Lapurdi, Lower Navarre and Zuberoa), or whose project is in some way linked to these territories.
SELECTION CRITERIA
The quality, trajectory, innovation, connectivity, public participatory and cross-border nature of each application will be assessed. For assistance, the evaluation committee may meet with the applicants in order to receive additional information on the application, if they consider appropriate.
DEADLINE
6 March 2020.
IZOKIN #6
SORKUNTZARAKO MUGAZ GAINDIKO LAGUNTZAK
Deialdi honen bidez Bitamine Faktoriak bakarkako sortzaileen eta taldekakoen proiektuak nahiz ekoizpen espazio iraunkorren eta kultur eragile independenteen ekimenak bultzatzen ditu, eta horren bidez lagundu egiten du lekuko sortze ehuna indartzen eta herritarren artean hedapen handiagoa lortzen.
Bakarkako edo/eta taldekako sortzaileen lanak ekoizteko izango dira laguntzak, izaera berritzaileko proiektuak eta aukera askeko oinarriak eta edukiak izango dituzten jarduerak. Beren jarduera Euskal Herriko mugaz gaindiko lurraldean garatzen duten pertsona fisiko edo kolektiboentzat bideratuta dago.
IZOKIN #9
CROSS-BORDER CREATION GRANT
Izokin supports projects of individual and collective creators as well as initiatives of permanent production spaces and independent cultural representatives, thus strengthening the creative fabric of the area and reinforce its greater dissemination among citizens.
The grant will be aimed at the production of works in visual, audiovisual, performing arts, music, literature, design, comics or any other creative discipline of individual creators and/or groups; projects with innovative and fundamental character and activities with flexible contents. This method is addressed to individuals or groups that carry out their activity preferably in the cross-border territory of Euskal Herria.
WHAT DOES IT CONSIST OF?
Production of works in visual, audiovisual and performance arts, music, literature, design, comics or any other creative discipline. Taking responsibilities of cultural projects: management of events and/or cultural spaces, the exhibition of works.
WHO CAN RECEIVE IT?
Individuals and groups of individuals with no age limit, who carry out their activity preferably in the territories of Gipuzkoa, Navarre and/or the Agglomeration community of the Basque Country (Lapurdi, Lower Navarre and Zuberoa), or whose project is in some way linked to these territories.
SELECTION CRITERIA
The quality, trajectory, innovation, connectivity, public participatory and cross-border nature of each application will be assessed. For assistance, the evaluation committee may meet with the applicants in order to receive additional information on the application, if they consider appropriate.
DEADLINE
24 october 2022.
BAR #10
BIDASOA ART RESIDENCY
Bidasoa Artist Residency is aimed at artists of any nationality and without age limit who can reside for at least 45 days in the Basque Country (Spain / France).
This call aims to create a residency for creation and/or research in which an artist reflects on the concept of margin. It is intended for artists of any nationality who wish to stay in the Bidasoaldea region. The focus of the programme consists in generating a result that stimulates reflection and the integration of the different perspectives that are produced in/from the margins.
WHAT DOES IT CONSIST OF?
Bitamine Faktoria offers a help that consists of:
-Advice and accompaniment. Contact with different people from the local artistic and cultural scene will be facilitated.
-Accommodation. (private rural flat with studio, one bedroom with double bed, living room with double sofa bed, bathroom, kitchen, parking and garden).
-Work space.
-Fees (1600 euros gross per month subject to withholding tax).
-Transfer from the place of origin to the residence (up to 1000 euros round trip) *.
-Production expenses (up to EUR 1200).
-Design, editing and printing of the publication with the results of the research and artistic process.
-Communication and dissemination.
Bitamine Faktoria offers the possibility of writing an invitation letter for the selected artist to apply for additional grants in the country of origin.
DEADLINE
7 november 2022
EAS-EZE #7
PROGRAMME FOR THE INTERNATIONALISATION OF CONTEMPORARY BASQUE ART
Bitamine Faktoria is launching this call for applications within the framework established by its plan for the internationalisation of contemporary Basque art. The aim of this programme is to encourage artistic research and production, contribute to the promotion of creators, and promote the international mobility of artists.
It is open to artistic export projects for artists living and working in the Basque Country, whatever their discipline.
WHAT DOES IT CONSIST OF?
The aid is developed in two phases. Initially, the project will be worked on for several months in the Basque context. Once it has been completed, it will be exported for presentation in the city of Buenos Aires (Argentina), where it will be shown in different spaces that are benchmarks of current contemporary culture.
Together with local institutions, a calendar of activities will be established in which the artists will participate in different venues, museums, cultural spaces and galleries (round tables, debates, workshops, meetings and collective works) with significant local artists.
DEADLINE
7 November 2022.
INFO
enter@bitamine.net