Ignacio Uriarte
Zeit/Raum
Rolando Anselmi, Rome
Mar 28 - Jun 1, 2024
Ignacio Uriarte
‘When I quit my last administrative job in order to work as a full-time artist, I realized that the new- gained freedom implied a great deal of responsibility. Under no circumstance did I want to abuse art for the sake of a personal liberation, which would have turned me into a marginal cliché-artist. On the contrary, I decided to stay in my own personal “petit-bourgeois” reality in order to deal with it from the inside, using the expertise acquired over the years. That is why I have not stopped using the same tools and methods, similar to those of any office employee, working in a routine way and with routine as my major thematic focus.
My starting point is the little creative moments within office-routines, which mostly have a ridiculously small ‘artistic’ aspect to them. Examples: When we scribble during a phone conversation (Aparición/Desaparación, 2013) or when we fold a sheet of paper before putting it into an envelope (Fluctuating Folds, 2012) we are performing small painterly and sculptural gestures. The systematic repetition of these actions according to predefined rules turns them into meta-routines, into re-enactments of the Sisyphus myth. The only difference is that the resulting pieces register in detail the methodical and repetitive labor that was necessary for their creation. This way, the routine survives, enabling the audience to read and mentally recreate it.
Esthetically, my work shows clear references to the conceptual and minimal art of the 60s and 70s. In those years the dematerialization of the art object in the art world and the substitution of products by services in the business world occurred almost simultaneously. Maybe that is why the esthetics also started to look alike, e.g. in the chromatic limitation or in the formal simplicity, which would signalize how both, commercial products and art objects now would be generated in a (blank) mind. We could even speak of a mutual fetichization which led for instance to the use of neon light and the archive as artistic media and to the preferred use of minimalist art as decoration in offices.’ - Ignacio Uriarte
Selected Works
Ventana Azul
2021
Permanent marker on paper, 12 drawings
118 x 154.5 cm (46 15⁄32 x 60 27⁄32 inches)
Negative Light Matrix (4 x 4)
2019
Pigmented ink on paper
33.5 x 46 cm (13 3⁄16 x 18 1⁄8 inches)
Diagonaler Linealstrichstrukturverlauf (4 x 4)
2019
Permanent marker on paper
33.5 x 46 cm (13 3⁄16 x 18 1⁄8 inches)
Madrid Windows
2019
Permanent marker on paper
Each framed (9) 55 x 40 cm (21 21⁄32 x 15 3⁄4 inches) Each unframed (9) 50 x 35 cm (19 11⁄16 x 13 25⁄32 inches)
Dos rectángulos y un círculo
2018
Pigmented ink on paper
65.4 x 50 cm (25 3⁄4 x 19 11⁄16 inches)
Breiter Dreiklang
2019
Typewriter on paper
108 x 45 x 3 cm (42 17⁄32 x 17 23⁄32 x 1 3⁄16 inches)
Diagonal Triangles (from the series Monochromes without Ink)
2014
Empty pen on cotton paper
63.3 x 48.2 cm (24 29⁄32 x 18 31⁄32 inches)
Black Scribble Moon
2019
Pigmented ink on paper
88 x 64.6 cm (34 21⁄32 x 25 7⁄16 inches)
Two light beams (Red and Green)
2017
Pigmented ink on paper
65.3 x 47.4 x 4 cm (25 23⁄32 x 18 21⁄32 x 1 9⁄16 inches)
Centrifugal amorphous matrix
2016
Pigmented ink on paper
119 x 88 x 5.5 cm (46 27⁄32 x 34 21⁄32 x 2 5⁄32 inches)
Cuatro por tres
2015
Pen on paper
79.5 x 59.5 x 4 cm (31 5⁄16 x 23 7⁄16 x 1 9⁄16 inches)
Untitled (Red with Black X-Fields 9)
2021
Typewriter on paper
31 x 25.6 cm (12 3⁄16 x 10 3⁄32 inches)
Three, (Tres)
2015
Wrinkled papers
21 x 105 x 131.1 cm (8 9⁄32 x 41 11⁄32 x 51 5⁄8 inches)Ed. 3 + I AP
Fluctuating Folds
2012
Paper installation
Variable dimensionsEd. 3 + I AP
Document Proof Monochromes
2012
Ink on paper
48 x 33 x 3 cm (18 29⁄32 x 13 x 1 3⁄16 inches)
Strong Upper and Downer (3 x A2)
2012
Typewriter ink on paper
66.3 x 133.2 x 4 cm (26 3⁄32 x 52 7⁄16 x 1 9⁄16 inches)
Rubber Band Carpet
2011
Rubber bands
Ed. 3 + I AP
Installation
Den Zufall ordnen (Structuring Chance), 2020
Kunstmuseen Krefeld, DE
Photography: Dirk Rose
Verwaltungstakte, 2019
Kunstmuseum Reutlingen Konkret
Verwaltungstakte, 2019
Kunstmuseum Reutlingen Konkret
210 x 297 cm, 2019
Kunstraum Lakeside, Klagenfurt am Wörthersee
210 x 297 cm, 2019
Kunstraum Lakeside, Klagenfurt am Wörthersee
x, y, z, 2018
Museo ABC, Madrid
x, y, z, 2018
Museo ABC, Madrid
FORMASOBREFONDO, 2017
Proyectos Monclova, Mexico City
FORMASOBREFONDO, 2017
Proyectos Monclova, Mexico City
Achtung Kulturgut, 2016
Kunstmuseum Villa Zanders, Bergisch Gladbach
EchtZeit, 2016
Kunstmuseum Bonn, Bonn
Cut, Folded, Pressed & Other Actions, 2016
David Zwirner, New York
Drawing – The bottom line, 2015
S.M.A.K. Ghent
Three, 2015
Mies van der Rohe Foundation, Barcelona
Listening to the Lines, 2015
Maison Hermès, Tokyo
Listening to the Lines, 2015
Maison Hermès, Tokyo
Drawing Now, 2015
Albertina Museum, Vienna
Unos y ceros, 2014
Marco Vigo, Vigo
Line of Work, 2013
The Drawing Center, New York
Line of Work, 2013
The Drawing Center, New York
Line of Work, 2013
The Drawing Center, New York
Analogital, 2013
UMOCA - Utah Museum of Contemporary Art, Salt Lake City
Works, 2012
La Panera, Lleida
Drawing Time, 2010
Ensemble Poirel, Nancy
Atasco de papel, 2008
Casa Encendida, Madrid
Exhibitions
Revelations on a shapeless sphere
FontetaJun 17 - Aug 28, 2022
For the second consecutive year, we are delighted to present a collaborative project between galleries Bombon, Galeria Joan Prats and NoguerasBlanchard. The proposal for this summer once again brings together artists from the three galleries and from different generations in an exhibition format that will be based on the exquisite corpse principle, with a text by poet Eduardo Escoffet written for the occasion.
Focusing on this act of collective exchange, during the summer of 2022, the artists invited to participate, the first of them Pere Noguera (La Bisbal del Ampurdán, Girona; 1941) , will be in charge of selecting the first group of artists, and so on in succession, until closing a cycle of exhibition proposals made up of works spanning different generations and imaginaries.
Chapter 1: Opening Saturday 25 June
Pere Noguera, Luis Gordillo, Ludovica Carbotta (Room 1)
Pere Noguera, Anna Dot, The Late Estate Broomberg & Chanarin (Room 2)
Chapter 2: Opening Saturday 16 July
Ludovica Carbotta, Muntadas, Francesco Arena (Room 1)
The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen (Room 2)
Chapter 3: Opening Saturday 6 August
Francesco Arena, Victoria Civera, Perejaume (Room 1)
Ángela de la Cruz, Rasmus Nilausen, Lola Lasurt (Room 2)
Chapter 4: Opening Thursday 18 August
Perejaume, Pere Llobera, Ignacio Uriarte (Room 1)
Lola Lasurt, Mercedes Azpilicueta, Fernando Prats (Room 2)
c/ Empordà, 10, Fonteta, Girona
Jun: Friday to Sunday from 5 to 9pm
Jul and Aug: Monday to Sunday from 5 to 9pm
Campos de texto
MadridApr 17 - Jun 18, 2021
The works in Campos de texto – all of which oscillate somewhere between drawing and writing – respond to how humans structure and organise space, and to the drifts that occur within these processes.
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Tipología de dibujo escultórico
MadridJan 21 - Mar 18, 2017
Each of the works presented constitutes a typology – of forms, gestures, fillings / voids, lines, accidents, inclinations and shadows.
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Hard Facts
MadridNov 16 - Jan 18, 2014
“the visual effects in his works are complex, but the language is plain: lines, colours and clean surfaces” - Joanna Kleinberg
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The History of the Typewriter Recited by Michael Winslow
BarcelonaJan 21 - Mar 20, 2010
Known as the “Man of 10,000 Sound Effects” for his ability to make realistic sound impersonations using only his voice and mostly remembered for his role in the Police Academy movies, Winslow re-enacts the clickety-clack of typing machines from the 1870s to the 1980s in a homage to “a sound which is part of the soundtrack of our lives”.
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About lines and circles
BarcelonaNov 29 - Jan 19, 2008
NoguerasBlanchard is proud to present the first exhibition in the gallery of Ignacio Uriarte (1972, Krefeld, Germany).
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