#oteiza

[duoscopic]

‘Tribute to Malevich’ by Jorge Oteiza, 1957. Terrassa, Catalunya.

[manuelhmompo]

Manuel Hernández Mompó (Valencia, 1927 - Madrid, 1992) Alaró, 1981 acrílico/metacrilato 20 x 60 x 20 cm

SOBRE ESCULTURA GALERIA DE ARTE rayuela 28 de marzo al 6 de mayo de 2006 Andreu Alfaro, Eduardo Arroyo, Rafael Canogar, Eduardo Chillida, Amadeo Gabino, Martín Chirino, Leiro, Miró, Mompó, Mignoni, Miquel Navarro, Oteiza, Palazuelo, Plensa, Valdés

[peterwalladobe]

David Bardia, Galería de Arte. Homenaje a OTEITZA. Cronica Visual: PeterWallAdobe@yahoo.es 20-10-2022. @GaleriaDavidBardia #OTEITZA #DAVIDBARDIA #Oteiza #escultura #sculpture #arte #fashion https://www.instagram.com/p/ClW2HAyDsXZ/?igshid=NGJjMDIxMWI=

[emvisual]

Ha muerto Jorge Oteiza.

[cmatain]

Ariel Núñez Sepúlveda defiende su tesis doctoral «Estudio y edición crítica de “Andrómeda y Perseo”, fiesta teatral de Pedro Calderón de la Barca»

El pasado lunes 18 de diciembre tuvo lugar en el Aula 30 del Edificio Central de la Universidad de Navarra la defensa de la tesis doctoral de Ariel Núñez Sepúlveda. Su investigación, dirigida por el Dr. Ignacio Arellano y codirigida por el Dr. Carlos Mata Induráin, lleva por título Estudio y edición crítica de «Andrómeda y Perseo», fiesta teatral de Pedro Calderón de la Barca. El tribunal que la…

[m-slgd]

"Situated at the threshold between sonido and ruido, proper and improper, legibility and illegibility, literacy and illiteracy, poets and readers of Hacía un ruido regress to an indeterminate state of quasi-ignorance [...] In Salgado’s text, writing and reading open up a site of enunciation for idiocy, a place sketched on the margins of the State, as well as of the ‘otro mundo’: a shifting linguistic margin, reminiscent of Fred Moten’s noisy language. In this light, we can go back to the question that Salgado’s book raises about the current commodification of verbal language, and ask: to what extent might this poetic state of quasi-ignorance about one’s proper language be able to resist a reductive opposition between language as an exchangeable commodity and language as a signifier of authentic identity?"

Daniel Aguirre-Oteiza, "The Sound of Poetry and the Polis: Translation and Noise in María Salgado’s Hacía un ruido", Bulletin of Spanish Studies, Volume 99, 2022 - Issue 2; pages 293-322; Published online: 26 Aug 2022 >>>

>>> https://doi.org/10.1080/14753820.2022.2105534

[beautiful-basque-country]

Hi, I love your blog! I wanted to ask you, about why Spain seems to not respect basque names? It jumped to my curiosity after you brought up the french pronunciation of as Basque name in the olympics! I'm sure there is a seasoned history for why, but when tried to google it, I wasn't quite sure how to find any info that satisfied my curiosity! I'd love even some recs to find information too!! Sorry if it's an odd request or bothersome! I hope you have a great day <3

Kaixo anon!

Eskerrik asko for your question.

There might not be a clear, absolute answer though. As far as I know, there isn't any study wanting to understand or explain why Basque names and toponymy are so disgusting-tasting in some Spaniards' mouths.

I can give you some characters from my very own experience and conclusions, though, but take them with a grain of salt and don't consider this anything close to science:

- the not bothered (neutral version): some people just learned the Spanish names of our places and that's how they've always heard them. Quite surely they live far away from EH and to them those towns are just terra ignota, no matter if their name is Spanish or Basque. They probably won't ever visit EH and can't see an issue in this.

- the not bothered (evil version): I'd dare to say most commentators belong to this kind. They're veeeery good at saying German surnames, English ones, French ones, Russian ones, you name it. However, their tongue twists when faced with a Basque name; a language that, 99% of the time, follows Spanish pronunciation rules. Forget Roanoke, the Mary Celeste or Amelia Earheart's fate: these guys are the biggest mystery out there.

- the Crusaders: some others may also ignore the Basque name, but even if they don't, the won't use it. It goes against their political beliefs: the language of Spain is Spanish, and all places and people should be called by a Spanish name. Using a Basque name, a Catalan, Galician, Arabic, Chinese name is not acceptable: since all those people are in Spain, they must have a Spanish name all Spaniards can say comfortably.

- the PhDs: these ones are Crusaders but dressed up as cultured people. They will lecture you on how they solely use Spanish names because they say Londres and not London or Jerusalén instead of Al-Quds, see? Or they use San Sebastián instead of Donostia because its use has been documented since the 15th century, so saying Donostia is a modern invent backed by a political agenda they won't be fooled into doing, nu-uh.

- the very frightened: these ones shiver at the word "Basque". OMG IT'S SO DIFFICULT AND HARD TO PRONOUNCE!!!! ... Oteiza or Aduriz look pretty tame to me and still you can't say them correctly... IT'S BECAUSE THE WORDS ARE NEVERENDING!!! LOOK AT THEM!!! ... But Bilbo has literally less letters than Bilbao, same case with Hondarribia and Fuenterrabía... SOOO DIFFICULT I'M HAVING A STROKE OMG!!!

[formlab]

Open box, Jorge Oteiza

[sir20]

Construcción Vacía (Jorge Oteiza), San Sebastian by sir20

[tasukuiwano]

https://www.museooteiza.org/en/jorge-oteiza/

[eahostudiogallery]

hard edges

Christopher Wilmarth - Gift of the Bridge (Maquette)

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Alberto Giacometti - Le Cube, 1933

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Jorge Oteiza - Unidad mínima

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Iman Issa

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Donald Judd

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Sol LeWitt

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Mona Hatoum - Bourj III 

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William Pye - Clearwater Cube

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Frank Poor - Church, Upatoi, GA

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Kishio Suga - Rhythm of Placed Scenery

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Meno Eytan - Cross

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Matias Faldbakken - Shoe Box Sculpture

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Sterling Ruby - ACTS SPLITTTTTTING, 2018

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TRNK - Proportions of Stone Side Table

::

Wednesday: May grey

[duoscopic]

Construcción vacía con tres unidades positivo-negativo, Jorge Oteiza, 1957

[mishabiesgolas]

Sombras en Alzuza Museo Oteiza (2023)

Provenientes de los pergaminos sobrantes en la elaboración de las cartas de un mesón castellano, más allá de las líneas rectas practicadas por el marroquinero, surgen también, ejecutados por el artista, cortes curvos, más sinuosos, a los que se añaden además una serie de puntos de tensión, fruto de las perforaciones realizadas previamente por el curtidor al estirar las pieles en su taller.

Individualizados uno a uno sobre una caja de luz, estos fragmentos han sido fotografiados con la intención de emular la mecánica de algunos teatros de sombras del sudeste asiático o Turquía, y las variaciones tonales que presentan son el resultado de la libre interpretación que la cámara ha hecho de las oscilaciones de las lámparas fluorescentes.

No es inocente tampoco, quizás por el trato de los materiales, por sus formas, sus atmósferas y por la decisión de registrarlas fotográficamente, el guiño a ciertos autores como Julio González, Ángel Ferrant, la Escuela de Vallecas o Eugenio Granell.

En consecuencia, muchas de las formas resultantes de este proceso a varias manos, han sido utilizadas para la elaboración de una serie de esculturas e instalaciones móviles cuyo objetivo es el de generar diferentes juegos espaciales mediante la proyección de sus sombras.

Para las cabeceras de las sesiones de proyección se han realizado una serie de películas con algunos de los pergaminos utilizados para la imagen del festival. Se trata de un conjunto de animaciones breves a las que acompañan unos sonidos obtenidos por medio de la manipulación de unas zambombas y un pandero, ambos instrumentos de percusión tradicional que comparten material con las formas de la imagen.

Como continuación a los ensayos previos realizados en su propio taller y en el Monasterio de la Inmaculada Concepción de Loeches, Misha Bies Golas ha proyectado una instalación específica para uno de los espacios del Museo Oteiza. Un montaje en el que los pergaminos, junto con la luz, el sonido y otros materiales constructivos tratarán de entrar en diálogo, tanto con la arquitectura y los elementos existentes en el espacio de la Casa taller de Jorge Oteiza; como con un modelo escultórico de composición formal que, a través de un ejercicio de búsqueda y agotamiento de posibilidades, reverbera de un modo especial en ese lugar.

[psychedelic-ink]

Sil! Is it too late to ask about a WIP? (I’m so bad at tumblr lately).

I would to hear more about Windfall! ❤️❤️❤️

ilu

Cat!! It's never too late and ily MORE 💜 and thank you for asking! this idea has been bouncing in my head ever since I watched the movie. It formed so suddenly in my brain and I can't seem to let it go

Basically, Tim is a detective who fell from grace thanks to the thief (who I think I'm going to name Salvador “Sal” Oteiza since I think there isn't a commonly used fandom name for him?? but the name might change idk) and Sal being the sneaky little thing he is, is masking his entire fortune like he's a very successful businessman or something, which drives Tim insane. Tim decides to rob one of Sal's summer houses, but things go sideways when him and you arrive for a last-minute getaway.

Tim is seen by reader and sloppily attempts to rob Sal more of his money, but the thing Sal doesn't know is that you and Tim used to be together.

So overall very messy, with secrets everywhere and summer vibes going on. And, of coursei since I want to make it a poly relationship they're all going to fall for one another in the end 💜💜💜

[malapekora]

itziar carreño etxeandia y jorge oteiza

[cmatain]

Blanca Oteiza participa en el III Seminario Internacional de HÍLICA «La “varietas” en los libros misceláneos de los Siglos de Oro»

Blanca Oteiza, investigadora del GRISO, ha participado en el III Seminario Internacional organizado por el Grupo de Investigación Hibridismo literario y cultura áurea (HÍLICA), que dirige la profesora Esther Borrego. El encuentro, con el título «La “varietas” en los libros misceláneos de los Siglos de Oro», tuvo lugar los días pasados días 27 y 28 de septiembre en la Facultad de Filología de la…