Incontrôlables

Instituto Cervantes de París
7, Rue Quentin Bauchart, 75008 París
12 de junio – 4 de septiembre 2015

eltono-incontrolables-icp

Incontrôlables es una serie de acciones experimentales en las cuales el artista pierde, a propósito, el control del proceso creativo dejando que operen factores ajenos que no domina. El resultado final es imprevisible y el artista se encuentra en la posición del observador dejándose sorprender por sus propias creaciones.

Exposición comisariada por Slowtrack (Madrid) y Juan Manuel Bonet.

paris.cervantes.es
slowtracksociety.com

Moulures:

Fascinado por los encuentros de volúmenes en las fachadas de los edificios, el artista recoge siluetas de molduras por la ciudad y lleva las formas negativas a la galería.

Reglas: La moldura tiene que encontrarse con una superficie plana. La forma negativa obtenida no debe ser estudiada con antelación.

U.V.:

Recomiendan siempre proteger las obras de arte de los rayos de sol. Aquí, al contrario, el artista aprovecha la agresividad de los rayos solares para producir impresiones.

Reglas: Se coloca una plantilla sobre un papel pintado de naranja fluorescente y se expone al sol. Cada día se expone un nuevo papel para poder observar la progresión del experimento. 7 papeles fueron expuestos durante una semana en Albuquerque y 15 durante dos semanas en Belvès (Francia).

G.A.S. (grabados en el suelo):

En torno a la idea de utilizar la calle como taller, el artista concibe un sistema de impresión que aprovecha el paso de los coches para generar grabados.

Reglas: El resultado se enseña tal cual, incluso en caso de fallo. La fecha, la hora y el lugar de la impresión se apuntan en el papel.

RUFO (Rudimentary Unidentified Frictional Object):

Para estudiar literalmente cómo la ciudad puede alterar una obra de arte, el artista pasea una pintura por la calle, la cara pintada en contacto con el suelo.

Reglas: Pintar una tabla y pasearla, la cara pintada hacia abajo, por la calles de la ciudad.
El recorrido está determinado con antelación. El artista no puede mirar debajo de la tabla antes del final del recorrido. El recorrido debe formar un bucle.

8/4 y 5/4:

Durante un ejercicio de pintura aleatoria, el artista pinta hasta 8 líneas compuestas cada una por 4 puntos. Las coordenadas de los puntos y los colores de las líneas son escogidas al azar.

Reglas: Las coordenadas de cada punto están generadas al azar. Los puntos están marcados en el papel y numerados de 1 a 4. Luego, se unen entre si respetando el orden. Se usa un máximo de 8 colores con un orden de aparición aleatorio.

Graviers:

Un experimento en torno a de los movimientos de la ciudad. Después de haber pintado un rectángulo en el suelo, el artista observa su degradación gradual hasta su completa desaparición.

Reglas: Pintura en superficie horizontal de grava. Pintar un rectángulo rojo con una plantilla y tomar una foto del resultado. Volver como mínimo una vez al día para fotografiar los cambios hasta la total desaparición del rectángulo.

Muchas gracias a Slowtrack, Marta Moriarty, Inés Muñozcano, Juan Manuel Bonet, Rafael Schacter, Raquel Caleya y todo el equipo del Instituto Cervantes de París.

Fotos por Sierra Forest, Rafael Schacter y Eltono.

Varianti

Ritmo
Via Grotte Bianche 62, Catania, Italy
June 9th – August 31st 2014

MOMO & Eltono

Inspired by the nearby market and particularly its cleaning activity, we designed 6 shapes and made up a device to generate random compositions with them. By shaking the device, we generated and documented hundreds of compositions; 52 were chosen, reproduced as collages and framed.

Video showed during the exhibition:

eltono-momo-varianti10
(Click on the picture to enlarge)

These artworks are for sale through the Ritmo gallery.

Amalgama

Slowtrack
C/ Cañizares 12, Madrid, Spain
March 27 – May 26 2014

First room:
Boîte à Compositions: www.eltono.com/exhibitions/solo/amalgama/boite-a-compositions
Modulo L: www.eltono.com/exhibitions/solo/amalgama/modulo-l
Nebulosas: www.eltono.com/exhibitions/solo/amalgama/nebulosas
Road Prints: www.eltono.com/exhibitions/solo/amalgama/road-prints
Patio:
Armatoste: www.eltono.com/exhibitions/solo/amalgama/armatoste
Second room:
I presented the outcome of 7 walks I did in Beijing for the Promenades project: www.eltono.com/projects/promenades

If you are interested in purchasing any of these pieces, please contact the gallery: www.slowtracksociety.com

Pictures by Eltono and ©Miguel Rosón (www.v15.es)
Thanks LUCE, Esther, Dani and Greta, Nov9 and everybody at Slowtrack.

Deambular

Deambular (Wandering)
Artium, Basque Museum of Contemporary Art
Vitoria-Gasteiz, Spain
July 6th – September 2nd 2012

Praxis Project: Curated by Blanca de la Torre – Production coordination by Yolanda de Egoscozabal

Deambular – Actions in the public space of Vitoria-Gasteiz and in the exhibition space
Control center and exhibition space: Praxis, North Gallery, ARTIUM
Curators: Sergio García and Javier Abarca

eltono-deambular-artium

For Deambular (Wandering), Eltono has devised a series of formulas to produce work based on the everyday action of walking through the city, the ebbs and flows of the street and pedestrian interaction, formulas that will run for seven days prior to the exhibition’s inauguration and for seven days after. The artist uses these games to outline direct connections between the exhibition space and the public space, links that invite the viewer to stroll through the city and thus form part of the creative process. The Praxis exhibition hall will serve as a workshop and control centre, and at the same time as a space to display the documentation arising from the various experiments. (Abstract taken from the Museum website)

Deambular was my first solo show in a museum. As usual now when I have to show public space art in a private space, I created artworks in the street that were related with other pieces presented in the museum. Over the years, I have realized that in every project I do, I end-up walking a lot throughout the city; consequently, for the Artium project I decided to use this action of walking to generate my artworks. To do this, I developed two types of actions outside the museum:

1 – The Thumbtacks installation (Chinchetas): I installed compositions made with colored paper strips held together with thumbtacks on wooden surfaces. As the day passed, the pedestrians started tearing the papers and removing the thumbtacks. I registered every change until the pieces completely disappeared.
2 – Illegal street paintings: during five nights, I went out to paint in the street of Victoria.

These night actions generated a lot of movements: from observation, localization and exploration to action and documentation; including all the movements of everyday life such as going from the museum to the hotel, eating, buying material, doing an interview, having a drink… At the beginning of the project, I chose a color code (red: Monday; blue: Tuesday; yellow: Wednesday; green: Thursday; orange: Friday; violet: Saturday and white: Sunday) and I started to register all of my movements on a map; at the same time, while I was walking in the city, I stuck small round stickers in each corner I passed using this color code. This way, I recorded my paths on a paper and also marked them in the city so people could transit through or follow them.


Between the street and the museum, I produced 6 types of works:

1 – Thumbtacks, installations with paper strips and thumbstacks – in the street (10)
2 – Paintings in the street (6)
3 – Colored circular stickers marking the daily path – in the street (approx. 150 per day, total approx.: 1650)
4 – Paths Mural Painting (in the museum)
5 – Drawing generated by the Thumbtacks installations (in the museum) (25; 5 sets of 4 and 1 set of 5)
6 – Photographic enlargements of the street paintings (in the museum) (2)

Finally, as a testimony of the 12 days of work I spent in the museum room, we decided to leave my workspace in the same state as it was the last day.

Pictures below…

Two fanzines were edited by the museum: 1st Fanzine (English) and Final Fanzine (Euskadi, English, Castellano)
(Text and design by Javier Abarca, photos by Irene Moratinos)

An extended version of the final fanzine has been edited by Javier Abarca for Urbanario: Urbanario Fanzine (English)
(Text and design by Javier Abarca, photos by Irene Moratinos)

Links:
Artium Museum press release: np120706-exhib-praxis-eltono
ARTIUM presents Strolling, an urban art project by Eltono for the Praxis programme
www.artium.org/English/Exhibitions/Exhibition/tabid/336

The artworks generated by the Chinchetas installation are available for purchase through SC Gallery.

Chinchetas (Thumbtacks) Installation:

I installed simple compositions made of colored paper held by thumbtacks on wood surface around the city. The installations were slowly altered by the pedestrians. After observing their evolution, I generated 1/1 scale drawings that documented the different steps that we were able to register. It resulted in a series of six each containing four or five drawings depending on how many changes were recorded. The first drawing of each series is showing the composition in its first step, just like I installed it in the street. The last drawing shows the last step, an empty paper, symbolizing the total disappearance of the piece. On each drawing is written the place, date and hour of the registered changes.

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Illegal Paintings in the City:

For several nights, after working all day in the museum, I went out to paint in the street of Victoria. Out of the six paintings I did, we selected two and printed life-size photographs to fill two walls from top to bottom in the exhibition space. After that, we gave to the visitors the freedom to discover the other four paintings in the city by themselves.

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Paths Mural Painting:

Every morning on the museum’s wall, using the correspondent color, I painted the path I have been walking the day before. Using masking tape, the drawing was stylized and simplified. I added a rule: the more I transited a street during that day, the thicker I had to paint the line. This uncontrolled mural evolved everyday during the 12 days of the residency. The idea was to generate a wall painting in which the final appearance was out of my control and to appreciate the result as a whole abstract painting and not like individual maps.

I used a large paper map to transfer the daily paths from my notebook to the museum wall. This graphic transfer process generated a huge quantity of colored dots (the ones I was marking and following as guides to paint the lines on the wall). The large map proved to be a faithful replica of the map I was creating while sticking the colored dots everyday in the city. This large piece, called Matrix Map, was left on the floor of the museum in the middle of the room – the same place it could be found during the time I was working in the museum.

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Round Stickers:

The round stickers experiment was the most intense part of the project. I had to mark my path through the city at every moment, sticking round stickers in every street-corner I was transiting. On average, I stuck one sticker every 30 seconds while I was walking in the city. The idea was to observe how the colorful points were accumulating on the spots I transited the most; and at the same time, to mark my path so people could follow it. A different color was used for each day, using the same color code as for the mural painting.

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Exhibition Pictures:

eltono-deambular-artium
Somewhere inside the museum…

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Photographs: Irene Moratinos and Eltono
Many thanks to Sergio and Javier, Blanca de la Torre, Daniel Castillejo and Irene.

Path Mural

Deambular (Wandering)
Artium, Basque Museum of Contemporary Art
Vitoria-Gasteiz, Spain
July 6th – September 2nd 2012

Praxis Project: Curated by Blanca de la Torre – Production coordination by Yolanda de Egoscozabal

Deambular – Actions in the public space of Vitoria-Gasteiz and in the exhibition space
Control center and exhibition space: Praxis, North Gallery, ARTIUM
Curators: Sergio García and Javier Abarca

See the whole project here: www.eltono.com/en/exhibitions/deambular

Paths Mural Painting:

Every morning on the museum’s wall, using the correspondent color, I painted the path I have been walking the day before. Using masking tape, the drawing was stylized and simplified. I added a rule: the more I transited a street during that day, the thicker I had to paint the line. This uncontrolled mural evolved everyday during the 12 days of the residency. The idea was to generate a wall painting in which the final appearance was out of my control and to appreciate the result as a whole abstract painting and not like individual maps.

I used a large paper map to transfer the daily paths from my notebook to the museum wall. This graphic transfer process generated a huge quantity of colored dots (the ones I was marking and following as guides to paint the lines on the wall). The large map proved to be a faithful replica of the map I was creating while sticking the colored dots everyday in the city. This large piece, called Matrix Map, was left on the floor of the museum in the middle of the room – the same place it could be found during the time I was working in the museum.

1/1 – Caochangdi

C-Space
Red No.1 – C1 & C2, Caochangdi, Beijing, China
June 30th – August 26th 2012

Curated by Nora Jaccaud – Directed by Melle Hendrikse

The 1/1 project aims to bring contemporary art to the street and the street into the gallery. Bringing art to unexpected places has been the goal of this French artist since he started painting abstract geometric figures in the street back in 1999. At the entrance of Caochangdi there is a sign that reads “Caochangdi Art Village”. However, when Eltono came for the first time, he was surprised to find an almost tangible frontier dividing the village and the galleries. After spending a few days in Caochangdi it became clear to him that the people who come to visit the galleries often miss the village, and very few villagers go and visit the art galleries. During his one month residency in Caochangdi, Eltono decided to use his paintings to create a link between these two worlds. To begin, he mapped out the village including all of the tiny streets and alleyways, noting down all the doors he found interesting or inspiring. Entering into conversation with the villagers he explained the goal of his project and asked permission to paint their doors – this served as the first link between the artist and the village. Over the next several weeks, he spent time connecting with residents and painting, creating a path throughout the neighborhood filled with mysterious abstract images.

A selection of life size photographs, the result of Eltono’s residency, were on exhibit in C-space gallery until the end of August, 2012. The rest of the doors can still be viewed by wandering the streets of Caochangdi and following the map produced by the artist (downloadable here).

The aim of this project is to create an exchange between two groups: the art community and the local residents. Those who regularly visit art galleries are invited to have a walk in the village and enjoy the paintings in their original locations, while the residents are invited to enter the art gallery and see photographs of their doors in a new and unfamiliar context. The “1/1” title refers to the life size printed photographs of the doors as well as the one to one relationship that exists between the exhibition space and the street – for Eltono these two spaces are equally valid when it comes to displaying art. The life size photographs create the illusion of real doors and build a virtual passageway connecting the street and the gallery. Using street art as his medium, the 1/1 project by Eltono hopes to provide a platform where art is accessible to everyone.

The life-size door photographs are available for purchase through the gallery. Each photo is unique and numbered 1/1. The pictures were taken with a 6×7 medium format argentic camera and printed with giclée technique on high quality photographic paper.

埃尔多诺-1/1计划-草场地
2012年6月30日至8月26日
艺术家将出席开幕式
开幕时间:2012年6月30日星期六下午4时至6时

埃尔多诺的1/1计划,旨在将当代艺术带上街头,而将街道带入画廊。自这位法国艺术家1999年开始在街头绘制抽象几何图案以来,他的目标始终是将艺术带到出人意料的现场。
草场地村的入口,有一块写着“草场地艺术村”的招牌。埃尔多诺第一次来这里的时候,他非常吃惊地发现了一个几乎看得见摸得着的界限,将村子与画廊分割开 来。在草场地度过几天之后,对他来说非常明显,来参观画廊的人往往忽略了村子,而且很少有村民来参观艺术画廊。在草场地居住的第一个月,埃尔多诺便决定用 自己的画来营造这两个世界之间的某种联系。
一开始,他在地图上标出了整个村子,包括小街道和胡同,记下了他觉得有趣或者有灵感的所有门洞。他开始与村民交谈,解释了自己这个计划的目的,请求得到准 许,在他们的门上画画——这成为艺术家与村民之间的首次联系。接下来的几个星期,他花时间建立居民与绘画之间的联系,在整个村落里营造了一条路径,充满了 神秘的抽象图案。
作为埃尔多诺居住项目的成果,精选出的与实物等大的照片将在C空间画廊展出,展至2012年8月底。在草场地村的街道上漫步时,按照艺术家制作的地图,可以看到其余的大门。
该计划的目的,是要营造出两个群体之间的交流:艺术群体与当地居民。定期参观画廊的人,应邀在村中漫步,在原来的地点欣赏画作,而居民则应邀进入画廊,在一个新的、不熟悉的语境之下观看他们的大门的照片。
“1/1”这个标题,指的是按照实物大小制作的大门照片,以及在展览空间和街道之间存在的一对一的关系——对于埃尔多诺而言,在展示艺术的时候,这两个空 间同样是有效的。实物大小的照片营造了真实的大门的幻象,构建起连接街道与画廊的虚拟通道。埃尔多诺利用街头艺术作为自己的媒介,1/1计划旨在提供任何 人都能接触艺术的平台。

www.c-spacebeijing.com

Video:

Process Pictures:

Photographs printing and installation:

Opening pictures:

Photos by Sierra and Eltono.
Thanks Melle, Nora, Wangfan, Lina, Cindy, Liugang, Angela & Aitor, Sierra, Alonso, Jacob, Elisa and of course: Xinkai, Haizi, Maomao, Caochandi Number 1 and all the residents of Caochangdi.

Duotone

Oz.
Oudezijds Achterburgwal 66, Amsterdam, NL
March 24th – April 24th 2012
Curated by Stickit

Process:

Result:

Exhibition:

Duotone prints are for sale in the Boutique.

Eredu

SC Gallery
C/ Cortes 4, Bilbao, Spain
October 7 – November 25 2011

SC Gallery invited me to Bilbao to paint a mural for the BLV-art festival and to set-up a show in their gallery. This festival took place in Bilbao la Vieja neighborhood. I called the show Eredu which means “model” or “pattern” in Basque. My idea was to showcase different works all made using varying techniques that together highlight a common and characteristic pattern. The artworks presented were: four photographic enlargements of illegal paintings I had done in the street during my stay in Bilbao, mounted on dibond; five confetti and double sided tape compositions on Super-Alfa paper; thirty 10×15 cm documentation pictures of the mural I painted in Urazurrutia street #20; two prints out of my new Confetti edition and a painting on the rounded wall inside the gallery.

If you are interested in purchasing any of these pieces, please contact the gallery: www.scgallery.es

Mural painting in Urazurrutia street #20