00:14 In every work of this nature, the special thing comes from the environment, from the place.
00:21 And in this case, the most special thing is the roof overlooking the sky.
00:29 and that during the whole day the light from the sky passes through.
00:38 The starting point is a square...
00:45 But because they are moving because they are suspended
00:47 by fine threads,
00:49 each row has its own movement.
00:51 So, there is a multiplicity
00:52 of situations that make the work always different.
01:00 And then, the location of the spectator, when he sees it from the front coming in,
01:04 is completely different
01:07 than if one looks at it from below.
01:15 I'm not really trying to convey anything in particular,
01:19 but I'm trying to make my proposed experiences
01:22 have a certain effectiveness,
01:25 that make the spectator without the slightest slogan,
01:29 without the slightest pressure,
01:32 in relation to what was proposed,
01:34 either by looking at,
01:36 moving,
01:37 either participating
01:39 in the most physical, most active way,
01:42 whether it's answering polls, whatever...
01:45 So, the satisfaction for me is that the proposed
01:48 will create that incitement
01:52 and for the public to be complicit in what is proposed,
01:55 participant,
01:58 sometimes almost co-author of the proposal.
02:04 How beautiful!
02:06 You've seen how it changes, haven't you?
02:10 In general, the public is very responsive,
02:15 to look, to compare, to give their opinion.
02:18 And a restlessness to communicate,
02:21 of giving and receiving things.
02:28 There are many ways of involving the public in contemporary creation.
02:34 Emphasise
02:36 and create a dialogue
02:39 between contemporary creation and the public
02:41 to see new criteria,
02:44 to multiply the points of view,
02:47 not to let only that
02:50 the appreciation goes only through the commercial part of the artistic production.
02:58 If one is told:
02:59 "this work costs a lot of money",
03:00 you have to accept that if it's expensive there must be a reason for it,
03:03 even if he doesn't understand why.
03:06 Instead,
03:07 if the ratios were multiplied by means of experiences
03:11 that can be made between the public and contemporary creation,
03:18 contemporary creators could be given a multiplicity of possibilities.
03:23 of points of view from people who do not have the possibility to buy works.
03:31 That is to say, that the appreciation of contemporary art
03:33 is not only subject to the amount of money
03:37 in the pockets of those who can afford to buy them.
03:55 I think my learning has come from an attitude of curiosity...
04:02 That curiosity has been leading me to see..,
04:05 to try, to experiment...
04:08 I think it was one of the engines.
04:13 I've always felt good about that:
04:17 experimenting, doing things,
04:19 searching, trying out materials, imagining,
04:23 test if it works or doesn't work...
04:26 at the risk of falling into the contradiction of whether or not
04:30 what I did last year doesn't correspond to what I'm doing now,
04:35 but to the extent that it's a searching attitude,
04:39 there is uncertainty,
04:41 but also the satisfaction of small discoveries
04:43 that you can do and then you find out that it works, anyway...
04:50 It's an attitude that I'm very happy with.
04:54 I'd be a lot less happy if I had an attitude that I'd be a lot less happy with.
04:57 of a solely monothematic artist, that is to say:
05:02 "I have found a style and I repeat it for years".
05:07 Instead, that way,
05:09 having a style doesn't interest me very much because
05:13 I can vary, I can do different things,
05:18 and every time I feel like I'm getting richer myself.
05:23 with that attitude of experimentation.
05:29 - We were not neutral and I like it very much.
05:32 that this exhibition is called this way. 80
05:36 I knew Tabakalera many years ago. It was a ruin.
05:40 It's all transformed, so redone
05:42 I don't recognise it now.
05:45 It's all changed, it's magnificent.
05:51 It's very interesting that the different disciplines are mixed,
05:56 visual arts, cinema and everything else,
06:00 like reading, the library.
06:08 It's always positive the confrontation, the relationship of the different disciplines.
06:13 that can occur in the same place, in this case,
06:16 in a building as majestic, as important as Tabakalera.
06:21 I like the idea that if Tabakalera is an active and living place...
06:26 that in all that activity, a work that is also a work that is also a living place...
06:32 in movement, in permanent activity.
Tabakalera-denbora | Vincent Maraval
09:44
Tabakalera-denbora | Uxue Alberdi
08:14
Tabakalera-denbora | Ted Hope 08:53
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Niño de Elche 08:48
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
10:07
Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
07:49
Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Helena Taberna
08:28
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Dea Kulumbegashvili 09:47