‘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

Madrid Windows

2019
Permanent marker on paper
each: 55 × 40 cm ( × 15 34 inches )

Negative Light Matrix (4 x 4)

2019
Pigmented ink on paper
each: 33.5 × 46 cm ( × 18 18 inches )

Diagonaler Linealstrichstrukturverlauf (4 x 4)

2019
Permanent marker on paper
each: 33.5 × 46 cm ( × 18 18 inches )

Dos rectángulos y un círculo

2018
Pigmented ink on paper
each: 65.4 × 50 cm ( × 19 1116 inches )

Black Scribble Moon

2019
Pigmented ink on paper
88 × 64.6 cm ( 34 2132 × 25 716 inches )

Breiter Dreiklang

2019
Typewriter on paper
each: 108 × 45 × 3 cm ( × 17 2332 × 1 316 inches )

Cross Gradation

2018
Permanent marker on paper
143.3 × 118.3 × 3 cm ( 56 1332 × 46 916 × 1 316 inches )

Tres triángulos

2018
Pigmented ink on paper
90.3 × 143.4 cm ( 35 916 × 56 1532 inches )

Two light beams (Red and Green)

2017
Pigmented ink on paper
65.3 × 47.4 × 4 cm ( 25 2332 × 18 2132 × 1 916 inches )

Centrifugal amorphous matrix

2016
Pigmented ink on paper
119 × 88 × 5.5 cm ( 46 2732 × 34 2132 × 2 532 inches )

Cuatro por tres

2015
Pen on paper
79.5 × 59.5 × 4 cm ( 31 516 × 23 716 × 1 916 inches )

Three, (Tres)

2015
Wrinkled papers
21 × 105 × 131.1 cm ( 8 932 × 41 1132 × 51 58 inches )

Fluctuating Folds

2012
Paper installation
Dimensions variable

Diagonal Triangles (from the series Monochromes without Ink)

2014
Empty pen on cotton paper
each: 63.3 × 48.2 cm ( × 18 3132 inches )

Document Proof Monochromes

2012
Ink on paper
each: 48 × 33 × 3 cm ( × 13 × 1 316 inches )

Sequential inclination 1

2012
Document proof pen and pencil on paper
92 × 126 × 4 cm ( 36 732 × 49 58 × 1 916 inches )

Strong Upper and Downer (3 x A2)

2012
Typewriter ink on paper
66.3 × 133.2 × 4 cm ( 26 332 × 52 716 × 1 916 inches )

Nine Crosses

2012
Pen on paper
each: 59.4 × 42 cm ( × 16 1732 inches )

My Record Collection

2011
Pen on paper
each: 37.5 × 37.5 × 2 cm ( × 14 34 × 2532 inches )

Rubber Band Carpet

2011
Rubber bands
Dimensions variable

Installation

Verwaltungstakte

2019
Kunstmuseum Reutlingen Konkret

Den Zufall ordnen

2020
Kaiser Wilhelm Museum
Krefeld

210 x 297 cm

2019
Kunstraum Lakeside
Klagenfurt am Wörthersee

x, y, z

2018
Museo ABC
Madrid

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

Especies de Espacio

2015
MACBA
Barcelona

Drawing Now

2015
Albertina Museum
Vienna

Unos y ceros

2014
Marco Vigo
Vigo

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

Flatland

Barcelona
Jan 13 - Mar 23, 2018
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Tipología de dibujo escultórico

Madrid
Jan 21 - Mar 18, 2017
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Meditaremos em silêncio a diferença entre nós

Madrid
Nov 14, 2015 - Jan 09, 2016
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Hard Facts

Madrid
Nov 16, 2013 - Jan 18, 2014
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The History of the Typewriter Recited by Michael Winslow

Barcelona
Jan 21 - Mar 20, 2010
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About lines and circles

Barcelona
Nov 29, 2007 - Jan 19, 2008
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