Deambulatorios de una jornada, en el principio y el proyecto Tindaya
(Wanderings of a day, in the beginning and the Tindaya project)
Production: Centro de Arte Juan Ismael, Puerto del Rosario, Fuerteventura, Canari Islands, Spain
Curator: Nilo Casares
Coordination: Mari Carmen Rodríguez
Christo and Jean-Claude
Corporación Cultural Amereida (curated by Claudia Zaldívar and Pablo Brugnoli)
Eva & Franco Mattes, a.k.a. 0100101110101101.ORG
It opens the 16th of March of 2007 in the island of Fuerteventura, departuring from and
returning to the Centro de Arte Juan Ismael, until the 14 of April of 2007.
In order to deepen in the relations between Art and Nature this exhibition is divided in two
different parts, one historical and one active, untitled Wanderings of a journey, in the start and
the Tindaya project.
The beginning of this exhibition is set at the Centro de Arte Juan Ismael where consolidated
works representative of the Land-Art movement are exhibited through different earthworks
whose main expositive example is the project of intervention in the Tindaya Mountain by
Here we find, apart from the description of the intervention in Tindaya proposed by Eduardo
Chillida, with very important works done by the Chilean group Corporación Cultural Amereida
(Travesía Amereida de 1965), Fernando Casás (Projeto Errante/Entrada na natureza),
Christo & Jeanne-Claude (Wrapped Coast, Valley Curtain, Running Fence, Surrounded
Islands, The Gate), Robert Smithson (Spiral Jetty), Nancy Holt (Sun Tunnels), Hamish Fulton
(Walking, Walking y Un año —Lanzarote—)... All exhibited in a documentary way, since it is a
kind of art located on very concrete territories that cannot be moved of their original location, so
more than exhibited, they are evoked through different means used by the artists of this
movement to transfer the natural placement to the nonsite of the exhibition space.
Wanderings of a journey is… the result of inviting several artists to make interventions
conceived to be accessible within a day journey from the Centro de Arte Juan Ismael.
The invited artists are outside to Land-Art, although accustomed to work on public spaces, thus
we count with The Communication Graveyard, by Luigi Pagliarini (Italian artist that will work in
Los Estancos), Metallic, by Francis Naranjo (Spanish artist who will do it in La Oliva),
Fantasma urbano, by Santiago Cirugeda (Spanish artist that will invade El Cotillo), Wir
arbeiten für Sie, by Óscar Mora (Spanish artist whose work will be located in Costa Calma),
Tu imagen, by Juan Castillo (Chilean artist who will inhabit Tiscamanita), 204_NO_CONTENT,
by Darko Fritz (Croatian artist that will be based on El Efeque) and Reenactment of Beuys'
7000 Oaks, by Eva & Franco Mattes, alias 0100101110101101.ORG, (European artists that will
occupy the Centro de Arte Juan Ismael). In addition, and like a continuity stream, we count on
the sonorous composition Trayectos_sonoros.ftv, by the Uruguayan Brian Mackern an
Fernando LaGreca, which will join the different interventions on the territory.
The connecting theme of the interventions on the territory is the residual, the natural or human
presence, since we start from the Eduardo Chillida’ Tindaya project, emerged from the use of
the mineral waste extracted to hollow the mountain, waste commercially used and as a result of
its operation the Chillida work comes up. Following this inevitable residual presence, all the
interventions on the territory are made on residual zones, some generated by the own nature,
as it is the case, quite contradictory since an apparent detritus takes in an unexpected garden,
of the malpaís so characteristic all around the island, the only case in that we would be located
on a natural waste, because the rest has entropic root, cases of the traces left by the
excavation for the use of the land as border roads and the inscriptions with small stones left
over the hills of the island with different cultural intentions, that conform a weak entropic
presence. But also we find a stronger entropic presence in the abandoned airport, the streets
left just as they are by the interruption of a city-planning in El Cotillo or the transformation of
sandy grounds for the tourist operation.
This way, the different artists, and following the outline to intervene in already contaminated
territories, as pure Nature does not exist, the same characteristic as the Chillida‘ Tindaya
project, form a renewed cartography of the Fuerteventura island.
During the first week, a bus will be ready to transport the visitors along the different
interventions giving them a small snack, but without awarding them with the catalogue at the
end of the route, reserved only to the visitors that make the route by their own and starting from
the first week, since the catalogue, as requires the cataloguing in situ, could not be published
for the opening.
With these interventions, a new cartography of the territory is done inviting people to cross the
“exhibition”. For this, a map and a voucher that is stamped in each visited work; when the
wandering is finished, as a travelling looking for the “compostelana”, the visitor is awarded with
the catalogue of the exhibition.
With this prize for visitors we want to transfer the English experience of the passage on the
territory as an artistic form to the own visitor, a way to integrate the aesthetic and artistic
Thus we get an exhibition about the landscape divided in two parts: one first, reflected of some
earthworks of the Land-Art, with scent of time; one second, formed by interventions made by
present artists who do not belong to the Land-Art because it has no sense to be part of this or
that movement, but, in this case, just to conquer the open public spaces.
Text 'Naturlalmente, arte' by Valentina Tanni . Exhibart, 30 - 03 - 2007