Nobody Told Me You Were Here

Nobody Told Me You Were Here

  • 1992
  • Acrylic on wood (plywood)
  • 58,7 x 243,7 x 106,5 cm
  • Cat. E_95
  • Acquired in 1992
By:
Isabel Tejeda

Pello Irazu’s work has always been linked to the Formalist legacy left by Jorge Oteiza in the Basque sculpture scene. However, despite his constructivist roots, his output moved in directions in which that starting point was diluted and he questioned the conceptual and spatial nature of his work in relation to the viewer’s participation. An example of such experimentation with the link between the space occupied and the void is Nobody Told Me You Were Here (1992). The work is built using plywood, acrylic and vinyl paint, as a block with intermediate spaces eliminated and coloured. The sculpture is low and nuanced in its dimensions; it subverts the magnificence of earlier Basque sculpture and is seen as post-minimalist, a style which would remain a hallmark of Irazu throughout his artistic career.

Isabel Tejeda

 
By:
Isabel Tejeda
Pello Irazu
Andoain (Gipuzkoa) 1963

Pello Irazu graduated from the Fine Arts Faculty at the University of the Basque Country in Leioa (1986), where he majored in Sculpture. Along with Txomin Badiola and Ángel Bados, Irazu is considered one of the most important figures within ‘new Basque sculpture’.

During the 1980s, Irazu began establishing the parameters that would feature throughout his career: limiting the size of his works in relation to his own physical possibilities, so that each piece focuses a performative act; or taking a heterodox approach as he reaches out to minimalism and to Oteiza, creating works with great material density that produce a spatial discontinuity wherever they are placed. In 1989, Irazu moved to London, and then in 1990 to New York thanks to a Fulbright Scholarship. He lived and worked there throughout the 1990s and regularly exhibited at the John Weber Gallery. He currently lives and works in Bilbao.

In Pello Irazu’s output the use of sculpture techniques and procedures has gradually increased, including such diverse materials as wood, Formica, cardboard, plastic and aluminium. He has also worked in mural painting and drawing, generating new spaces by means of friction between the materiality of his works and their perception. His ‘El muro incierto’ [‘The Uncertain Wall’] exhibition at Sala Alcalá 31 (Madrid, 2015) stands out in this trend. Playing with the specific features of the venue, he arranged several murals produced between 1991 and 2005 in the exhibition area and generated a broken, maze-like route that calls into question the experience and perception of viewers.

Pello Irazu has a long, international artistic career. His exhibitions include ‘Panorama’, a review of his career at the Guggenheim Museum Bilbao (2017); ‘Pello Irazu. Fragmentos y durmientes’ [‘Pello Irazu. Fragments and Sleepers’], at Atrium – Museum of Contemporary Art of the Basque Country (2003); ‘Vivir sin destruir’ [‘Living Without Destroying’], at the Koldo Mitxelena Kulturunea (San Sebastián, 2007); and ‘Studio’, at the Yancey Richardson Gallery (New York, 2014). Irazu has taken part in major group shows such as ‘Aperto’ at the Venice Bienniale (1990); ‘Future Perfect’, curated by Dan Cameron, at Heiligenkreuzerhof (Vienna, 1993); ‘Photodimensional’, at the Museum of Contemporary Photography (Chicago, 2009); ‘Mínima resistencia. Entre el tardomodernismo y la globalización: practicas artísticas durante las décadas de 1980 y 1990’ [‘Minimum Resistance. Between Late Modernism and Globalisation: Artistic Practices in the 1980s and 1990s’], at the Reina Sofía (Madrid, 2013); and ‘(Ex)posiciones críticas. Discursos críticos en el arte español.1975-1995’ [‘Critical (Ex)positions. Critical Discourses in Spanish Art. 1975-1985’] organised by the Centre for Contemporary Art of Galicia (Santiago de Compostela, 2015).

Isabel Tejeda

 
«Pello Irazu. Sculptures & Drawings. New York 1990-1992», Galería Soledad Lorenzo (Madrid, 1992). «Future Perfect», Hochschule für angewandte Kunst (Vienna, 1993). «From Goya to our times. Perspectives of the Banco de España Collection», Musée Mohammed VI d'Art Moderne et Contemporain (Rabat, 2017-2018).
Keith Seward Pello Irazu. Esculturas y dibujos. New York 1990-1992, «Pello Irazu's Toybox», Madrid, Galería Soledad Lorenzo, 1992. Dan Cameron Future Perfect, «Future Perfect or Notes on the Limits of Indifference», Vienna, Hochschule für angewandte Kunst, 1993. Yolanda Romero & Isabel Tejeda De Goya a nuestros días. Miradas a la Colección Banco de España, Madrid & Rabat, AECID y FMN, 2017. Vv.Aa. Colección Banco de España. Catálogo razonado, Madrid, Banco de España, 2019, vol. 2.