INTERLUDE

Irune: In a world full of stars, our gaze twists away and looks the other way. At the spotlight that illuminates, and not at what is lit up. Like a baby dazzled by the light and not by all that it shines on. And the light looks at you, but does not see you.

Alejandra: Irune J. Orbea’s game involves a key piece that moves where it will. And wherever it is, it brings into co-existence what can only be created in our heads, something that doesn’t understand either time or space. In there that grey matter folds space-time. The key piece is the most basic form, the first that we draw and place a point within. It is there that time and ego are created.

I: The form of the circle is repeated as a sym- bol of the spotlight that interchangeably illuminates or darkens where it points; it acts at will or through reason, for an instant or for ever. I get the impression that the work has more of a questioning than an af rming shape. There is a questioning of criterion, of who is shining and who is lit up, and places all this on the same level, taking a snapshot of light in movement.

A: This exhibition is that circle stopping, outlining the continuity of the essential. Indispensable to tell. Stories exist thanks to all that is in them that you don’t tell. Even when they deny you they already exist. What is not mentioned is what festers. Recognition. Can you be without them knowing who you are? Without having told your story? I start to lose my solitude the more I exist in you.

I: Some of the images that make up the work obviously refer to spectacle, and are direct images with no catches, except for the ambiguity as to who is being looked at, the identity of the artist who is searching or the spotlight that is sought. The rest of the images capture the surrounding reality and everyday referen- ces, simple moments which become exquisite simply because they are depicted. It is a complex process that selects that fragment of life itself, within an immense photographic archive, attempting to be free of not making sense, so as to arrive at a very partial and subjective representation. First is the choosing of the image and then the spotlight that makes it visible or invisible. It’s all there, you just have to illuminate it. And the spotlight is invariably there, implacable or elusive.

A: You called it Interlude because of the way it is a transition from one state to another. But all states are provisional. We feel the obligation to create a conclusion and converge. Otherwise, there is no product.

I: Interlude because it is between two. Between a previous work called Fugue, which is where it comes from, due to the musical procedure with that name and the following piece which has already become highly out- lined. Hence the name Interlude as the short musical shape between two others, which are larger but not better because of their size. This work is a precise depiction of this precise moment.

Alejandra Ventoso
Irune J. Orbea

“Interlude” 2012. Interlude because it is between a previous work called Fugue, and the next Fume. Interlude its the way, it is a transition from one state to another, but all status all provisional: we feel the obligation to create a conclusion and converge. Otherwise, there is not product. In a world full of starts, our gaze twist away and looks the other way. At the spotlight that illuminates, and not at what is lit up: like a baby dazzled by the light and not by all that it shines on. The form of the circle is repeated as a symbol of the spotlight that interchangeably illuminates or darkness where it points; it act at Hill or though reason, for an instant or forever. I get the impression that the work has more of a questioning than an affirming shape. The is a questioning of criterion, of who is shining and who is lit up, and places all this on the same level, taking a snapshot of light in movement.

Some of the images that make up the work obviously refer to spectacle, and are direct images with no catches, except for the ambiguity as to who is searching or the spotlight that is sought. The rest of the images capture the surrounding reality and everyday references, simple moments which become exquisite simply because they are depicted. It is a complex process that selects that fragment of life itself, within an immense photographic archive, attempting to be fee of not making sense, so as to arrive at a very partial and subjective representation. First is the choosing of the image and then the spotlight that makes it visible or invisible. It's all there; you just have to illuminate it. And the spotlight is invariable there, implacable or elusive.