EINA Edit will be present at ArtsLibris ARCOmadrid - 2023, where it will present the works of Asier Mendizabal, Lola Lasurt, Regina Gimenez and Andreu Balius. The 42nd edition of ARCOmadrid, one of the main platforms of the contemporary art market, will take place from 22 to 26 February at IFEMA MADRID.
EINA Edit is the project for the production of limited artist's editions managed by EINA Bosc's Graphic Creation Workshop. It aims to involve artists and professionals linked or not to the school, students and alumni in the process of graphic creation, generating a production of quality and prestigious graphic work.
ArtsLibris Arcomadrid - 2023
→ From 22 to 26 February
→ IFEMA MADRID (Avda. del Partenón, 5).
→ Pavilion 7. Stand C31
Check all the information about the artists and their works:
Abesti Gogorrak (Seven Centos). 2023
Asier Mendizabal’s practice (Ordicia, Guipúzcoa, 1973) approaches the production of form in relation to discourse and ideology, orienting his research towards the confluence of aesthetic abstraction and historical concretion. Paying special attention to Basque culture, its historical paradoxes and its truncated manifestations, Mendizabal often places his work in dialogue with specific historical places and contexts, and also with the work of other artists. Taking the sculptural paradigm as a starting point, but also its extensions in writing, textiles, photography or collage, the artist investigates the potential of materials, their mutations and their permanence in the social fabric.
Abesti Gogorrak (Seven Centos) is a portfolio of seven monochrome xylographs which stems from a both specific and ambiguous lexicon: the Basque words and expressions that the sculptor Eduardo Chillida (Donostia- San Sebastián, 1924 - 2002) used for the titles of his own works. This material, extracted from existing artistic publications, has been reassembled as a concrete poem in seven parts. Mendizabal makes use of the "cento" —a type of classical poetic composition in which the author exclusively uses existing verses— as a method of composition to make the most of the expressive potential of certain transcription errors which were present in the original material and went unnoticed in successive historical editions. Merging lyrical reflection and an ironic examination of identity, the artist playfully highlights the exoticisation of a language that exemplifies, like few others do, a centuries-long cultural resistance to oppression. The work highlights the symbolic value of words, especially when their meaning is opaque or remains hidden. Thus, it questions the very economy of poetic language, as well as its cultural authority.
Historically, centos were poems made of fragments of other poems, often produced as a homage, but also as a parody. The term originates in ancient Greece, where cento was the name used for blankets or covers made of various scraps, used in moments of conflict as protection from attacks of arrows. This is how Abesti Gogorrak (Seven Centos) evokes a reflection which is not only textual but also textural and textile, using composition as if it were employing fragments of fabric, scraps, and masses of meaning. Through, collage and transferring one material to another, from one language to another, and its interstices, the artist explores the permanence of writing and the fragility of language as what he himself refers to as register of strangeness.
Abesti Gogorrak (Seven Centos) by Asier Mendizabal. 2023 (Photo: Anne Roig)
How to perceive the complementary. Practical lesson by Lindsay Kemp and Colita at Teatre Lliure (1977). EINA Archive 2023
Lola Lasurt’s practice (Barcelona, 1983) is concerned with the historical event and memory as imbricated, repetitive and fragile processes, in constant revisitation and change. Working through archival research, the artist regularly uses the format of the historical frieze in her works to channel the results of her observations into formats ranging from painting to drawing. Using colour in ways that refer to classical, romantic and modernist accounts of chromatism, the artist analyses the performative value of both production and aesthetic perception, which leads her to pay special attention to disciplines such as choreography and dance.
In this silkscreen diptych, Lola Lasurt retrieves one of the images which document the workshop that dancer, choreographer and mime Lindsay Kemp (Birkenhead, 1938 – Livorno, 2018) delivered with EINA students in December 1977. The photograph was taken by Colita (Isabel Steva Hernández; Barcelona, 1940), a well-renowned photographer working during the Spanish political and cultural transition, and who also paid great attention to performative arts. Halfway between sketches and film frames, the photograph is transferred to a series of the three drawings which compose a historical frieze. Due to its saturation, their green background causes the emergence of a magenta halo over the white outline of each drawing; the optical paradox inevitably makes us think of works such as Goethe’s Theory of colours or Josef Albers’s Interaction of colour, which marked the modern conception of chromatism.
Starting from ongoing research on memory, the artist uses the complementarity of colours to evoke political tensions. Explicit or silenced, the gender struggles that marked the years of the Spanish transition —fights in which both Colita and Kemp were actively involved— underlie these images and remind us of their relevance today. Here, the choreographic act, the photographic shot and the stamping process are also placed complementarily, resignifying themselves through rhythm, representation, and reiteration. Dance, image and graphic gesture reveal their performative dimension as acts in constant mutation and repetition; all this through the image of a variable process –a workshop as opposed to a finished choreography– rather than an unequivocal result. How to perceive the complementary acts both as a colour chart and historical documentation of a fragment of choreographic representation, highlighting the importance of gender perception in a context of urgent encounter with the other, precisely as in opposition or in complementarity.
How to perceive the complementary. Practical lesson by Lindsay Kemp and Colita at Teatre Lliure (1977). EINA Archive by Lola Lasurt. 2023 (Photo: Anne Roig)
Constellations. 2023
Since the 1990s, Regina Gimenez (Barcelona, 1966) has established herself as one of the most active Catalan artists on the local and international art scene.
Through the appropriation of elements taken from their original context, such as old mute maps or books on geography and cosmology, and their reorganisation into new compositions, Regina Gimenez develops through her works an investigation into the aesthetic and formal aspect of graphic representations. An exploration that results in a world of colours and geometric shapes of great beauty and simplicity, through which universal dialogues such as abstraction and figuration, colour and black and white or the whole with the fragment materialise. It is a versatile body of work made up of objects of different natures, from paintings on canvas and collages on paper to textile works, as well as other materials and techniques such as methacrylate or photography. That is why, in addition to her pictorial production, it is also worth mentioning the artist's interest in publishing artist's books and graphic work, as well as her teaching work at university level.
“On an old sheet of children’s drawing paper, designed for the neat and tidy work which is so highly valued at school, the playful manipulation of a set of shapes, cut out and dis- carded on the floor of my studio, spill over the frame. Grouped together, like stars in a celestial region, they seem to form a figure. An analogy with children’s play, a game without rules, where chance is the protagonist".
Constellations by Regina Gimenez (Photo: Anne Roig)
Brossairum. 2023
Andreu Balius (Barcelona, 1962) works professionally as a typography designer at Typerepublic, a studio he founded in 2003. He has been developing typographic projects since the early 1990s and was co-founder of the (type)graphic design studio Typerware, 1993.
He has been a member of the Association Typographique Internationale - ATypI and the AGI (Alliance Graphique Internationale) since 2010. He has won several awards, including several "Excellence in Type Design" prizes awarded by the Type Directors Club and the Association Typographique Internationale - ATypI. His work has been featured in exhibitions and published in catalogues and specialist magazines.
This abstract typographic composition was developed using the Brossa font, which An- dreu Balius designed in 2021 for the Joan Brossa Foundation. It is a sans serif font based on the different typefaces used by Brossa in his visual poems (Akzidenz Grotesk, Folio, Universe, Helvetica, Futura).
Brossarium by Andreu Balius. 2023 (Photo: Anne Roig)
EINA Edit will also participate in the Speakers' Corner of ArtsLibris at ARCOmadrid - 2023, a dynamic and flexible space for the discussion, dissemination and exchange of authors, publishers and the general public.
Recent editions by Regina Gimenez, Lola Lasurt, Andreu Balius, Asier Mendizabal.
With: Regina Gimenez, Lola Lasurt, Jo Milne, Javier Fernández, Manuel Cirauqui.
This presentation will address, on the one hand, the motivation of the EINA Edit project, recently launched in a framework of experimental pedagogy and creative community. On the other hand, the event will serve to unpack, in the company of some of the collaborating artists, the concepts underlying their productions in the framework of contemporary graphic practices.
→ 22 February at 16:00







