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Asier Mendizabal

Point de capiton (Hodja), 2016
Galvanized steel, inkjet print, PVC canvas, screws and magnets
140×100×56 cm
Not All That Moves (Is Red), 2007
Fabric, concrete and audio CD
Dimensions variable
Installation view: Not All That Moves (Is Red), Artis den Bosch, The Netherlands, 2007
Untitled, 2016
Table composed of 4 glass plates

Installation view: Asier Mendizabal, Problemas de estilo y vasijas de barro. Zarigüeya/Alabado Contemporáneo, Museo Casa del Alabado, Quito, Ecuador.
Asier Mendizabal’s work pays most attention to the relations between form, discourse and ideology and has been said to be related to the constructivist sculpture with its roots in the abstract utopia of the first decades of the 20th century (1). The question of the sign and its materiality and identification as a social and political emblem also has a place among the artist’s interests. Through sculpture, photography, video, textual or graphic works, Mendizabal gives a view on ideology based on the mise en scène of the concepts or structures shaped by it. The works by Mendizabal cannot be interpreted at first sight as they accumulate layers of meaning and sometimes refer to multiple ideas which are not of common knowledge. Whereas in some works a direct connotation in the recent history and reality of the Basque country can be read, in others he chooses referents which belong to historic or ideological legacies.

(1) Bartomeu Marí in Asier Mendizabal, Museu d´Art Contemporani de Barcelona (MACBA), 2008