Anomalías

SET Espai d’Art
Plaza Miracle del mocadoret 4, Valencia, Spain
September 15th – November 11th 2017

www.setespaidart.com

I’m always looking for new systems to make the city part of my creative process. Each experiment I do is a series and, to be able to compare the results, I carry out these experiments very rigorously and methodically. In the process, I often find myself in strange situations, off-key from the reality that surrounds me. In the city’s routine, my actions can be perceived like anomalies. The generated artworks act as testimonies of the experience lived between the artist and the city.

6 aros (6 hoops)

This project started with a map of Valencia. I looked for itineraries with the most circular shape possible. I found six. I created a wooden sculpture from each itinerary. Subsequently, I walked each sculpture in the city on the very path it represents. Each walk varied from 1 to 6 km. I presented the sculptures as they were at the end of each walk.

Piedras pintadas (painted rocks)

I looked for rocks in the streets around the gallery. I found 14. For each one, I noted down the exact place where it was found. I brought the rocks to the studio and I painted them with 3 coats of 3 different colors. Then, I brought each one of them back to the place where I found it and from this point, I kicked it through the street until it entered by the gallery door.

Dibujos en la EMT (drawings in the bus)

Running away from the comfort and the security of the studio, I drew pictures while sitting inside the urban buses of the city of Valencia. I drew the same composition 12 times during 12 journeys on different bus lines. Every imperfection on the drawings are the result of the annoyance and discomfort produced by the movement of the trip. I not only had no absolute control over my drawings but I also had no control on where the bus was bringing me; at the end of each drawing, when I raised my head, most of the time I was totally lost.

Crossroad #3

Doppelgaenger Gallery
Via Verrone 8, Bari, Italy
Double solo show with Italian artists Sten&lex
May 4th – September 20th 2017

www.doppelgaenger.it

I showed three different bodies of work:

Percorsi Aleatori, three collages on paper representing three 10 minutes random itineraries that I executed in the streets of Bari Veccia using a dice in my pocket.

Esculture Casuali, a random sculpture experiment where the length and angle of each segment composing the sculpture were decided at random.

Morceaux Choisis, eight randomly generated woodcuts following the rules of generative mural Modo n.º7.

Fluctuación

Antonia Puyó Gallery
Calle Madre Sacramento 31, Zaragoza, Spain
September 29th – November 19th 2016

This new series of works is built on the itineraries generated by wandering randomly in the streets of Zaragoza. The exercise consisted in walking half an hour in the city using a dice at each intersection to determine where to go next. The artist and more than 60 participants performed the experiment and the results were translated to different medias: a wall painting in the Delicias Park, three sculptures, three collages, five paper cut-outs and a video.

Pictures by Daniel Pérez

Modo n.º11 – generative and participative painting:
4 days and over 60 participants – project curated by Antonia Puyó Gallery for Asalto Festival.

Pictures by Antonia Puyó Gallery and Asalto Festival

Text by Estela Rojo (in Spanish):

TRANSITAR Entre DELICIAS (Y GALERIAS)

Explorar, experimentar, observar, participar o deambular son términos ya habituales en el trabajo de Eltono. Artista del espacio público, como él se define, crece artísticamente desde la práctica vinculada al graffiti más puro, para evolucionar en la búsqueda de soportes y lenguajes que no sólo actúen en el espacio público sino que lo activen, generando líneas de reflexión sobre nuestra forma de relacionarnos y mirar nuestro entorno inmediato.
Sus acciones se han revelado la mayoría de las veces a través de la geometría y los colores planos, generando un código muy personal cargado de simbologías cercanas a lo caligráfico que interactuan con el espacio y hacen partícipe al contexto arquitectónico. El azar es uno de los condicionantes importantes que marca la dirección de su ir, introduciendo la aleatoriedad y el juego en sus procesos. Aparecen componentes lúdicos que tienen que ver con esa idea del disfrute, de la libertad del salir a vivir la calle y dejarse llevar por elementos que ella misma le proporciona, a veces de forma imprevisible, otras marcada por formulas autoimpuestas. Eltono pinta, arrastra, pega, clava, mide, genera nuevas experiencias desde la exploración y la deriva. Un sinfín de posibilidades, combinaciones y experimentos que van renovando su propia investigación formal.

Nacido en Francia su transitar vital le ha llevado a dejar una fuerte huella en España donde ha vivido durante más de una década formando parte de colectivos como Equipo Plástico, Noviciado 9 o trabajando junto a artistas como Nuria Mora, Momo y Luce entre otros. De esta forma su trabajo ha ido constituyéndose como uno de los referentes en el arte urbano español desde inicios de los noventa, en plena efervescencia del movimiento, hasta nuestros días. “De Madrid al cielo” dicen, en su caso Pekín, Londres, México, Varsovia etc… son numerosas las ciudades que recogen la huella de su “deambular” por las calles, a veces de forma clandestina y en otras bajo proyectos amparados por galerías e instituciones.
Este es el contexto en el que hoy nos encontramos: el espacio privado, un reto al que ya se ha enfrentado en numerosas ocasiones y que aborda como una más de las “tensiones” que un artista urbano afronta. En su caso este conflicto de “territorio a combatir” lo resuelve apropiándose de ese lugar como si se tratara de un mero contenedor de experimentos, una base logística o un escaparate más. Disuelve las fronteras convirtiendo la galería en un espacio para la invitación, donde romper barreras que separan al artista de aquel que ¿no lo es? proponiéndole, eso sí, sus propias reglas del juego. Genera dinámicas cercanas al espectador y formas colaborativas de producción ya que el propio visitante puede compartir mediante un dibujo su propia exploración del recorrido y colocarlo junto a las piezas de Eltono estableciendo innumerables diálogos.
El resultado de sus acciones en el Barrio de las Delicias, durante el festival ASALTO y en el entorno de la galería, se recogen en la sala de forma abierta, proponiendo enlaces con la experiencia directa del territorio urbano. Pasear por lugares conocidos y compartir esos recorridos por los que el propio artista se ha dejado llevar en un proceso de descubrimiento, hace que el concepto de transitar o recorrer el mismo espacio tome gran importancia en la configuración de la psicogeografía del barrio.
El artista reivindica a través de sus acciones y sus piezas un arte de contexto, incidiendo en su dimensión social. Nos hace conscientes del poder transformador del trabajo artístico en nuestra propia percepción de los lugares cotidianos, mediante un gesto tan sencillo y revelador como… caminar.

www.antoniapuyo.com
www.festivalasalto.com

Lugares Comunes

Luce + Eltono
SET Espai d’Art

Plaza Miracle del mocadoret 4, Valencia, Spain
November 13th 2015 – January 12th 2016

lugars-comunes-luce-eltono

“Lugares Comunes” was my first collaboration with Spanish artist Luce. We worked during three weeks on four installations based on observations and experiences we had around the city of Valencia.

1 – Escalera Butrón (break-in ladder):

This piece is about making holes in abandoned plot walls so we can facilitate the access to their interior. The holes were punched following a zig-zag pattern so that they could be used as a ladder. We used hammers and chisels and the holes came out irregular because they were made quickly and illegally. The size had to be big enough so a foot could fit in it. In the gallery, we showed five full scale “break-in ladders” made of wood. They were exact life size replicas and included the same shape, dimensions and arrangement for each hole. Reproducing the holes in wood had to be done rigorously and required precision and accuracy, which was a direct contrast to the way the holes were randomly produced on the street with a hammer and a lot of adrenaline.

2 – Periscopio (periscope):

This is a hollow omega shaped structure we build to be placed on top of deserted plot walls. Inside, a set of mirrors allowed us to literally see through the wall. We attached wheels so the artifact could be moved horizontally offering the viewer a proper exploration of the inside of the plots. In the gallery, we built a wall to support the periscope and showed a video of how people used it to see through different walls around the city.

3 – Asientos Acondicionados (seat conditioner):

All around the city, we observed a lot of unused L shaped brackets on places where an air conditioning unit used to be installed. We decided to exploit them to install a seat. The seat and the backrest leaned on the L squares mounted on the facade of the buildings. For the exhibition, we installed L brackets to set-up one chair and we showed four photographs of one of us sitting on it. These self-portraits served as a witnesses to the performances in the street as well as an opportunity for the public to see the artists enjoying the devices as they contemplate the city from a novel point of view.

4 – Compas (compass):

We used eight wood sticks of different lengths with a hole drilled on one side and a wax crayon attached to the other. In the street, we looked for unused screws coming out of the walls to hang them. These screws became center points to draw curves playing with the restrictions imposed by the position of the screw, the size of the stick and the surrounding elements. Inside the gallery, we reproduced a real situation that we observed in the street formed by eight screws and used the sticks to draw lines on one of the gallery walls. We made eight small scale drawings on paper that serve as a proof of the completion of the mural.

Extras:

Additional actions we did during the preparation of the show. Experimentations that we didn’t show in the exhibition but that were part of the process.

 

Pictures of the show:

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.