—59— MIKEL ESKAURIAZA Bilbo / Bilbao 1969 Paisaiaren generoak natura hartzen du abiaburutzat kultura-produktu bat sortzeko. Industria-giroko paisaian, kultura-arloa ez dago irudian bertan bakamik, irudiaren barruan ere bai baitago, hau da, aski organikoa den “naturaltasun” eta “artifizialtasun” aldiak gainjartzeko prozesuan. Etengabe andeatzen ari diren guneetan, industrialdee- tan, batera agertzen zaizkigu gizakiaren esku-hartzea eta forma naturalak; eta, horren ondorioz, espazioa loturarik gabeko zatiz osaturiko unitate ezegonkor bat da. Ezbairik gabe, bere testuingurutik bereizirik eta beregaina dela, kartela ~informaziokoa edo publizitatekoa- da formarik bereiziena, zarata sortzen duten forma horien artean. Enekuri P-L Sign lanean, leku berberaren hainbat ikuspegi jaso dira, eta leku ho- rretan andeatutako lurzoruaren osagai paradigmatiko bat gailentzen da; osagai hori terraza itearako zementuzko zabortegi bat da, eta haren gainean letra batzuk agertzen dira, lema desberdinak eratuz. Sail horretako argazkiak errealitatearen erakusle zuze- ak dira ia, baina ez da horrela, ema hutsal eta kriptiko horiek txertatu baitira ge- roago. Testuaren muntaia ez da paisaian ezkutatzen -eta paisaia, bestalde, generikoa eta motela da, nahiz eta industria ondorengo nolabaiteko edertasun goibela izan-; ez-ezkutatze horrek arrozte sentsazioa sortzen du. Izan ere, paisaiaren osagaietako bat arroztuta dagoela nabarmentzen da, eta paisaia hori ez da errealitate desegituratu eta zatikatu bat bezala hautematen. El género del paisaje parte de la naturaleza para construir un producto cultural En el paisaje de tipo industrial, lo cultural no se encuentra tnicamente en la propia imagen, sino denuo de ella, en el solapamiento mas 0 menos organico de estadios de “naturalidad!” y “artificialidad’. Espacios en proceso constante de degradacidn, en las. zonas industriales la intervencién humana coexiste con las formas naturales, dando lugar a una experiencia del espacio como preca inconexos. Auténomo y separado de su contexto, el letrero, informativo 0 publicitario, unidad conformada por fragmentos es sin duda la mis disociada de entre esas formas generadoras de ruido. Enekuri P-L Sign recoge vistas de un mismo paraje dominado por un elemento paradigmiético de la degradacién, una escombrera aterrazada de cemento sobre la que aparecen unas letras formando lemas diversos. Las forograflas de la serie serfan regis- tos directos de la realidad si no fuera porque estos lemas, banales y cripticos, estan integrados a posteriori. Ese no camuflar el montaje del texto sobre el paisaje -por otro Jado, genético y ano extrafiamiento. Fl efecto se deriva de evidenciar la desconexién de uno de los elemen- tos de un paisaje que ha dejado de percibirse como desestructurado y fragmentario. no en su decadente belleza post-industrial genera un efecto de—166— ENGLISH TEXTS ATOMA The wor “fre” defines an action, the cnemical process through which different substances combust. The word “smoke” defines a physical realiy, in suspension and volatile, which is the effets, residue and evidence of the above phenomencn. “The Kea ('Smoke") project is proposed as an analysis and a collective work process in which each one con- tributes his own way of doing things. ts development has generated archive material. It has also diverted into diferent formalistions: actions, the object of which are to propore a phenomenclogical experience through the spatial occupation of the rooms of a building with smoke: the formal representation of the theme in a stu dio portrait commissioned to 2 photographer; the socio- logical approach of a documentary video that records the annual festivity where people colebrate and light aban- doned limestone ovens; sculptural and graphic represen- tations of the systems developed in training manuals for firemen to explain the behaviour of fire as a proces. Finally, the theme of the stuly, a physical reality szound which there is aeady a world of shared images, is an excuse for developing a collective work-process with the intention of starting up an anaiytical system, This does not result in a synthesis but, necessarily, in a fragmentation of results MIKEL ESKAURIAZA The genre of the landscape uses nature to construct a cultural product. In the industrial-type landscape, what {s cultural is not found only in the image itself, but within it, in the more oF less organic overlapping of the conditions of “naturalness” and “ortfciality”. In indus- twial zones, spaces in a constant process of degradation, human intervention coexists with natural forms, giving rise to an experience of the space as a precarious unit made up of disjointed fragments. Autonomous and sepa rate in its context, the sign, informative or for advertis~ ing, is doubtless the most disjointed of all these forms that generate noise Enekuri P-L Sion gathers’ photographic views of a single spot dominated by a paradigmatic element of this degradation, a rubble dump topped with cement, fon which come letters appear, forming different slogans. ‘The photographs in the series would be direct records of reality, were it not for the fact that these banal, cryptic slogans have been ackled later. The fact that the text hae been assembled on the landscape is not hidden -a. landscape which is both generic and inoffensive with its decadent, post-industrial beauty- generates an effect of estrangement. The effect is derived from showing the disconnection of one of the elements of a landscape, which has stopped being perceived as unstructured and fragmented. LOREA ALFARO Peqnda is a collection of recycled, photographs, rescued from certain oblivion. By blowing up and placing them ‘on paper, these holiday scenes and landseapes have been transformed from objects into images. Beyond belonging to the artist's personal catalogue, there is no relationship between them, although they still have a certain fam~ ily air about them. This derives from fortuitous formal analogies: the position of the “figure with a headdress looking at the landscape” in one composition replicates another next to it, marks of a similar texture and colour that cross and provide a counterpoint to several images a chance encounter between the different view of groups. of figures, the motif of an arm jumping from one Image into another without from this succession deriving any naative oF causal logic. structure similar to 9 poctic phrase emerges fem this accumulation of fragments, ‘where oxéer applied to differing elements in a single ‘unit of meaning generates a sensory type of experience. “(.) In accordance with his usual custom, Austerlitz toolea few photographs, some of them of the snow. ‘white stucco roses in the frieze of flowers sunning round. the ceiling (..Y". W.G. Sebald, Austerite, Penguin Books, Londen, 2002. MANU URANGA Dennis Cooper starts the poem “Teen Idol” with sen- tence from Thomas, the youth idol, “Love's overrated”, and the response of the writer, “You spoiled fucking brat”. The purpose is to do a study on the idea of rep- resentation based on sno starting materials: private recordings of games between couples and porn scenes, an industry bared on the consumption of images and 2 functional genre where temporal development is de- termined by the mechanical gestures of sex. The theme of the study will be love, the great theme, and sex as a disassociated and absent clement. ‘A came structute, a situation featuring a couple, is repeated in five chapters. This could be the same couple, {in spite of variations in the sewing, context and dia logue. In this series of seenes, the actors hold a video camera. Part of the erotic game, the camera is the device that makes the image possible. There are private scenes