Aitor Ortiz

Space. From 17 Sep, 2019 to

Aitor Ortiz (Bilbao, 1971) raises a rereading about photography as a process of interaction between the representation and the perception of the viewer. After the recent individual exhibition "The Tracing Memory" at the University of Navarra Museum and ahead of the presentation of his project "Gaudi" at the Kutxa Tabakalera hall in San Sebastián. This will be the fourth exhibition of Aitor Ortiz at galeria SENDA.

Opening:17 Sep, 2019

Professional visitors:17 Sep, 2019

Opening to public:17 Sep, 2019

Artist/s involved:

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Aitor Ortiz  has developed a solid artistic career disputing the limits of architectural photography. The representation of the building is not seen from a documentary point of view instead refers the image to meta-photographic issues linked to the execution of the photograph or the formal possibilities of the representation itself. With this approach, his work has been extended into a more expanded field that includes the process of construction and perception of the image.

In front of his work, the viewer faces naked architectural constructions where there are no human tracks or elements that serve to contextualize these buildings. The reduction to structures without stylistic references creates doubt if the building is in the construction or degradation phase. This extirpation of all accessory causes the compositions to have a marked geometric character that enhances the structural component of the buildings, attending to their regularity and symmetry. Architecture abandons its third dimension in this way and becomes a two-dimensional and abstract representation that emphasizes its monumental aspect.

Aitor Ortiz also presents an evolution of his work through the combination of artistic languages. The artist does not consider artistic techniques as closed systems, but preliminary mechanisms of creation.We find three-dimensional sculptures made with photographic surfaces in which the author transgresses the traditional categories and extends his experience beyond the limits of the language of photography. This hybridization endows his research with the nature and autonomy of photography of a dialectical process that questions and modifies its own terms. This hybridization endows his research with the nature and autonomy of photography of a dialectical process that questions and modifies its own terms.

On the other hand, the photographs of the Amorfosis series arise from a concrete event that conditions architecture and reveals hidden structural elements or a certain constructive moment, such as a fire for example. Aitor Ortiz records this documentary information in order to reconstruct it later and dissociate it from its imminent obsolescence. This is how the constructive element itself comes into confrontation, the reconfiguration the viewer makes of photography with the tensions between the object of new construction and what the image shows.

Aitor Ortiz, Amorfosis 002, 2016, aluminum print and polycarbonate, 125 x 250 40 cm
Aitor Ortiz, Amorfosis 002, 2016, aluminum print and polycarbonate, 125 x 250 40 cm
Aitor Ortiz, NET 013, 2012, aluminum print with black frame, 100 x 1000 x 10 cm
Aitor Ortiz, NET 013, 2012, aluminum print with black frame, 100 x 1000 x 10 cm
Aitor Ortiz, AMORFOSIS 026, 2015, photographic print on Hahnemühle paper, 150 x 100 x 6 cm
Aitor Ortiz, AMORFOSIS 026, 2015, photographic print on Hahnemühle paper, 150 x 100 x 6 cm
Aitor Ortiz, AMORFOSIS 045, 2017, photographic print on Hahnemühle paper, 150 x 100 x 6 cm
Aitor Ortiz, AMORFOSIS 045, 2017, photographic print on Hahnemühle paper, 150 x 100 x 6 cm
Aitor Ortiz, STAGE 004, 2012, aluminum direct printing with black frame, 150 x 100 cm
Aitor Ortiz, STAGE 004, 2012, aluminum direct printing with black frame, 150 x 100 cm
Aitor Ortiz, Noúmenos 009, 2013, laminated picture with black frame, 150 x 102 x 10 cm
Aitor Ortiz, Noúmenos 009, 2013, laminated picture with black frame, 150 x 102 x 10 cm