Manu Muniategiandikoetxea .- N4 (Baliagarriegia)

Manu Muniategiandikoetxea .- N4 (Baliagarriegia) (vista del montaje)
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Manu Muniategiandikoetxea .- N4 (Baliagarriegia) (vista del montaje) Manu Muniategiandikoetxea .- Martinen etxia (La Casa de Martín). 2013. Acrílico sobre tabla. 203 x 277,5 cms. Manu Muniategiandikoetxea .- Maqueta GEM. 2013. Ocumen. 50 x 38,5 x 42 cms. Manu Muniategiandikoetxea .- N4 (Baliagarriegia) (vista del montaje) Manu Muniategiandikoetxea .- Escultura cartón Martín. 2013. Acrílico sobre lienzo. 237 x 183 cms. Manu Muniategiandikoetxea .- N4 (Baliagarriegia) (vista del montaje) MM420- Manu Muniategiandikoetxea .- Baño de cartón, rota y partida. Nº 21. 2013. Acrílico sobre tabla. 250 x 244 cms. Manu Muniategiandikoetxea .- Sección R nº 21 I. 2013. Cartón tricapa y acrílico. 80 x 34 x 34,5 cms. Manu Muniategiandikoetxea .- Sección R nº 21 I. 2013. Cartón tricapa y acrílico. 80 x 34 x 34,5 cms. Manu Muniategiandikoetxea .- Sección R nº 21 I. 2013. Cartón tricapa y acrílico. 80 x 34 x 34,5 cms. Manu Muniategiandikoetxea .- Sección R nº 21 II. 2013. Cartón tricapa y acrílico. 70 x 46 x 35 cms. Manu Muniategiandikoetxea .- Sección R nº 21 II. 2013. Cartón tricapa y acrílico. 70 x 46 x 35 cms. Manu Muniategiandikoetxea .- Martinen etxia (La Casa de Martín). 2013. Acrílico sobre lienzo. 183 x 155 cms Manu Muniategiandikoetxea .- Ruina. 2013. Óleo sobre lienzo. 46 x 38 cms. Manu Muniategiandikoetxea .- Regletas azules. 2013. Óleo sobre lienzo. 46 x 38 cms. Manu Muniategiandikoetxea .- Alfa. 2013. Acrílico sobre lienzo. 183 x 155 cms. Manu Muniategiandikoetxea .- Sin título. 2013. Óleo sobre lienzo. 97 x 73 cms. Manu Muniategiandikoetxea .- R cartón (Escultura de cartón onírica nº21). 2013. Acrílico sobre lienzo. 183 x 155 cms. Manu Muniategiandikoetxea .- R cartón (Escultura de cartón rota nº21). 2013. Acrílico sobre lienzo. 183 x 155 cms.

The exhibition title, N4 (Baliagarriegia), refers to the number of times that Manu Muniategiandikoetxea has exhibited in Espacio Mínimo gallery, N4, and to a made up euskera term, Baliagarriegia, that could mean something like “too valuable” or “truly valuable”. The term is formed from: Egia, too and true; Balio, value; and Garri, suffix –ful.

The formalization of the space through constructive variations and the exploration of possibilities of perspective within that space continue to be the fundamental aspect of a work which, though recurrent in it motifs, never runs out of ideas and creates a solid continuum.

The show is formed by a series of paintings that tend to abstraction: forms that bear resemblance to structures of previous works, with emphatic gestures and superposition of codes, besides others that are clear and concise.

For this occasion, although a fundamental element of his work, citation is used in a less evident way. The more abstract works share a common source not easy to identify: Rodchenko’s sculpture number 21. The colder and figurative works contrast clearly with the previous ones but help to formalize them. The sculpture that accompanies the paintings works as a catalyst of the images and establishes formal relations between them.

In this exhibition, the way that the spectator visualizes the paintings is complex. Finally, he will build the images or the forms to understand them, through a process of familiarization with the motifs that compose them. There are some stylistic references to 60s and 70s painting but the superposition of codes, their cohabitation and the different formal approaches, are what make the lecture of the works more complicated. The viewer elaborates the image or form of the works as well as the final lecture of the show, the exhibition story.

The exhibition is nothing else but a reflection of the complexity with which Manu Muniategiandikoetxea faces his work, his necessity of being constantly questioned, making clear the continuous changes that affect art and the society that art represents.