Peio Aguirre
[edit]Biography
[edit] Peio Aguirre (born in 1972) is an art critic, curator and author based in Donostia-San Sebastián. Since 2000 he has been actively involved in D.A.E. Donostiako Arte Ekinbideak, an independent curatorial organisation. Exhibitions and programs include Front Line Compilation (2002), Outside Cinema: The spirit of portraying (2003) Film Ideal Forever, Manifesta 5, (2004), and also commissioned several artist projects in the public space. His essays and reviews have appeared in magazines such as Flash Art, Frieze, Afterall and Untitled. He has written essays on the work of Philippe Parreno, Annika Eriksson, Liam Gillick, Sergio Prego, Ibon Aranberri, Phil Collins and Apolonija Sustersic among others.Biographie
[edit] Peio Aguirre (né en 1972) est critique d’art, curator et auteur, base à San Sebastian. Depuis 2000 il est activement impliqué dans D.A.E. Donostiako Arte Ekinbideak, une organisation curatoriale indépendante. Ses expositions et programmations comprennent Front Line Compilation (2002), Outside Cinema: The spirit of portraying (2003) Film Ideal Forever, Manifesta 5, (2004). Il a par ailleurs suivi la commande de divers projets d’artistes dans l’espace public. Ses textes ont paru dans des magazines comme Flash Art, Frieze, Afterall et Untitled. Il a écrit, entre autres, sur le travail de Philippe Parreno, Annika Eriksson, Liam Gillick, Sergio Prego, Ibon Aranberri, Phil Collins et Apolonija Sustersic “Museum in ruins” 1996Ten years later, the ship-like building looks oxidized like in a sci-fi scenario
“Cities of Architects” 2001Welcome to the cities of architects, welcome to the cities of politicians
“Propaganda” 2003Who said in a biennale “this is propaganda”?
“Sportlife” 2005Enjoy a life of plein sport, make your body work for the sake of sport
“In the Search of Politics” 2006New politics demands old recipes, old politics are alive in new ones
Métacommentaires politiques
[edit] Peio AguirreS’il était possible d’englober, d’un seul regard simultané et comparatif, l’actuelle situation politique du monde, avec ses peurs, ses dégoûts et sa violence sans fin, et le treillis culturel et économique de l’industrie de l’art, en tenant compte de toutes les relations qui les unissent et en décortiquant leur complexité dialectique, si ce regard pouvait être jeté proprement et efficacement, alors tous nos commentaires si bien intentionnés seraient tout bonnement superflus, pour ne pas dire voués à l’échec.
Nous conviendrons tous, peu ou prou, qu’une telle vision globale est littéralement impossible, car la distance qui sépare l’art de la réalité ne cesse de se heurter à ses propres illusions, de même que nous conviendrons que l’art est une nécessité pour l’humanité qui, au moindre geste (toujours nouveau et unique), réexamine de manière critique la réalité environnante. (...)
Political metacommentaries
[edit] Peio AguirreIf it were possible, at a single, comparative glance, to take in the current world political situation with all its fears and loathing and endless violence, together with the cultural and economic mesh of the art industry, while also embracing all the relationships that bind them and dissecting their dialectical complexity, and if this glance could be cast precisely and effectively, all our well-intentioned commentaries would be quite simply superfluous, not to say doomed to failure. We're all more or less in agreement that this kind of global vision of things is literally impossible, given that the art/reality gap is endlessly colliding with its own illusions, just as we agree that art is a necessity for humanity and at the slightest gesture – always new, always unique – subjects ambient reality to critical re–examination. Even so, we are compelled to speculate about the origins of our angst and sense of urgency, about this state of perpetual anxiety with its disturbing calls for the restoration of order and the resurrection of such all but forgotten terms as "state of emergency" or "curfew" – to quote but two of today's all-purpose concepts.
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