{"id":2750,"date":"2008-02-18T16:47:25","date_gmt":"2008-02-18T14:47:25","guid":{"rendered":"https:\/\/www.rosamartinez.com\/sin-categorizar\/chacun-a-son-gout-museo-guggenheim-bilbao-2007-2008\/"},"modified":"2025-06-11T16:49:35","modified_gmt":"2025-06-11T14:49:35","slug":"chacun-a-son-gout-museo-guggenheim-bilbao-2007-2008","status":"publish","type":"post","link":"https:\/\/www.rosamartinez.com\/es\/exposiciones\/chacun-a-son-gout-museo-guggenheim-bilbao-2007-2008\/","title":{"rendered":"Chacun \u00c0 Son Gout, Museo Guggenheim Bilbao, 2007-2008"},"content":{"rendered":"<p style=\"text-align: center;\"><strong>Chacun \u00c0 Son Gout, Museo Guggenheim Bilbao, 2007-2008<\/strong><br \/>\n<strong>Chacun \u00e0 son go\u00fbt<\/strong><br \/>\n<strong>Dates: October 16, 2007 &#8211; February 3, 2008<\/strong><br \/>\n<strong>Venue: Guggenheim Bilbao Museum<\/strong><br \/>\n<strong>Curated by: Rosa Mart\u00ednez<\/strong><\/p>\n<p><strong>Artists<\/strong>: Elssie Ansareo, Ibon Aranberri, Manu Arregui, Clemente Bernad, Abigail Lazkoz, Maider L\u00f3pez, Asier Mendizabal, Itziar Okariz, Aitor Ortiz, Juan P\u00e9rez Agirregoikoa, Sergio Prego, and\u00a0Ixone S\u00e1daba<\/p>\n<p><strong>For information<\/strong>:<br \/>\nCommunication Department<br \/>\nGuggenheim Bilbao Museum<br \/>\n<strong>e mail<\/strong>: media@guggenheim-bilbao.es<br \/>\n<strong>telf:<\/strong>\u00a0+34 94 435 90 91<br \/>\n<strong>fax:<\/strong>\u00a0+34 94 435 90 59<\/p>\n<p><strong>GUGGENHEIM MUSEUM BILBAO<\/strong><br \/>\nAbandoibarra Et. 2,\u00a048001 Bilbao, Spain<\/p>\n<p><strong>Museum information desk<\/strong>: (+34) 94 435 90 80<br \/>\n<strong>Information<\/strong>: informacion@guggenheim-bilbao.es<br \/>\n<strong>Opening hours<\/strong>: Tuesday to Sunday from 10:00 a.m. to 8:00 p.m.<\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-1017\" src=\"https:\/\/www.rosamartinez.com\/wp-content\/uploads\/2016\/09\/cha.jpg\" alt=\"\" width=\"350\" height=\"258\" srcset=\"https:\/\/www.rosamartinez.com\/wp-content\/uploads\/2016\/09\/cha.jpg 350w, https:\/\/www.rosamartinez.com\/wp-content\/uploads\/2016\/09\/cha-300x221.jpg 300w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p>Chacun \u00e0 son gout presents a selection of contemporary Basque artists who have all produced new projects in an exhibition specially conceived for the Guggenheim Bilbao Museum\u2019s tenth anniversary.<br \/>\nTaken from Diderot, the title of the exhibition champions individual taste and freedom of choice. As a phenomenon relative toperception and time, taste may evolve according to social and individual preferences, and is influenced by class, gender, geopolitics, and aesthetic education.<br \/>\nEvery new artwork, every new exercise in interpretation contributes new perspectives to the public\u2019s reservoir of tastes and values. The twelve selected artists are part of a generation established in the late nineties using international art languages to respond to the complexities of their local milieu.<\/p>\n<p><strong>Elssie Ansareo<\/strong>\u2019s La Danse des Fl\u00e2neuses is a large photographic mural that dramatizes identity and otherness, situating familiar imagery alongside a gallery of phantasmagorical characters. This timeless genealogy subverts social hierarchies of origin and status.<\/p>\n<p>Horizons is a series of bright pennants by<strong>\u00a0Ibon Aranberri<\/strong>\u00a0that zigzag from the roof of the museum, recycling and modifying Chillida\u2019s graphic and sculptural legacy. In an ironic linguistic operation, cultural and political icons and anagrams are reconfigured to playfully demystify symbolism and memory.<\/p>\n<p>In his latest film, Disarmingly Cute<strong>\u00a0Manu Arregui\u00a0<\/strong>explores the physical and psychological transformation of Vanesa Jim\u00e9nez, known as \u201cthe glass girl\u201d due to a degenerative illness, to question the concept of hyper-reality and the ethics of TV reporting.<\/p>\n<p><strong>Clemente Bernad<\/strong>\u00a0uses photography as a social document in series that are either commissioned by newspapers or the result of his own inspiration, such as Day Laborers, Basque Chronicles, and Open Tombs a report on extreme left-wing Turkish prisoners.<\/p>\n<p><strong>Abigail Lazkoz<\/strong>\u2019s black-and-white drawings double as a kind of restrained, synthetic writing in 130,000 Years of Last Tendencies, a large mural work that alludes to the art industry\u2019s obsession with fashion and novelty, while recalling burial rites as a form of anthropological culture.<\/p>\n<p><strong>Maider L\u00f3pez<\/strong>\u00a0returns to the concept of spatial geometry to work an ironic, chameleonic transformation on one of the museum\u2019s more classically designed galleries. By turning it into a \u201cFrank Gehry gallery\u201d, the artist borrows the architect\u2019s signature style to question notions of authorship.<\/p>\n<p>In Nom de guerre,\u00a0<strong>Asier Mendizabal<\/strong>\u00a0takes an apparent ready-made from an incident of street violence: a can that burns away on a concrete block like an urban joss-stick holder. In the limpid context of the museum building, the flames act as a sign of social angst, questioning both notions of control and the commemorative function of sculpture.<\/p>\n<p>Sentences like Have You Given in to Your Desire to Master? are inscribed on placards by\u00a0<strong>Juan P\u00e9rez Agirregoikoa<\/strong>\u00a0to signify social urges and political violence. Some of them are to be found in Project Turned into Installation, fixed to a sports hurdle.<\/p>\n<p>With Irrintzi, an action shot on video,\u00a0<strong>Itziar Okariz<\/strong>\u00a0moves around the museum emitting irrintzis, an ancestral Basque shout. This tour in sound apprehends the space semantically in a play of contrasts between remote signifiers, such as the traditional connotations of the irrintzi and the spectacular modernity of the Guggenheim Bilbao.<\/p>\n<p><strong>Aitor Ortiz<\/strong>\u2019s Y combines a series of photographic panels with a real opening in one wall of the museum. The work explores our phenomenological perception of architecture and the lines between reality, sculpture and photographic representation.<\/p>\n<p>The concept of sculpture as intervention rather than merely object has led\u00a0<strong>Sergio Prego<\/strong>\u00a0to install Sequence of Dihedrals in the courtain walls of the museum Atrium. Although the title appears to be a simple allusion to geometrical abstraction, the work is in fact a conceptual challenge to the actual function of art in a museum.<\/p>\n<p><strong>Ixone S\u00e1daba\u00a0<\/strong>explores issues of identity by splitting her own image, organizing theatrical dance routines in sublime, apocalyptic landscapes. Po\u00e9tique de la disparition and Leviathan are two photo series in which intimate or atmospheric turbulence becomes a metaphor for a tragic, contemporary dysfunction.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Chacun \u00c0 Son Gout, Museo Guggenheim Bilbao, 2007-2008 Chacun \u00e0 son go\u00fbt Dates: October 16, 2007 &#8211; February 3, 2008 Venue: Guggenheim Bilbao Museum Curated by: Rosa Mart\u00ednez Artists: Elssie Ansareo, Ibon Aranberri, Manu Arregui, Clemente Bernad, Abigail Lazkoz, Maider L\u00f3pez, Asier Mendizabal, Itziar Okariz, Aitor Ortiz, Juan P\u00e9rez Agirregoikoa, Sergio Prego, and\u00a0Ixone S\u00e1daba For [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1678,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[409,388],"tags":[505,497,506,502,503,504],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Chacun \u00c0 Son Gout, Museo Guggenheim Bilbao, 2007-2008 - 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