Aitor Ortiz

Aitor Ortiz - Amorphosis 009

Technique: Photo printing on aluminum

Artist Biography: Bilbao, Spain. 1971 Beyond the documentary photography of architecture and industry, claiming the dilution factor and the transmutation of reality that is associated with photographic representation, Aitor Ortiz works with space, architecture and objects as elements that give rise to a series of visual and cognitive unknowns. Ortiz is repeatedly interested in posing a series of dilemmas between representation and interpretation (perception) and establishes a relationship between the content of his images, the physical properties of the materials on which he reproduces his work and the position of the pieces in the exhibition space. Aitor Ortiz seeks to establish a broad spectrum of works and the relationships between the photographed places, the conscious and subconscious mechanisms involved in the process of manipulating an image: the eye (interpretation, framing, contextualization...), the camera (focus/blur, optical distortion, transmission of movement...) and the brain (the limitations of an imperfect artifact in the interpretation of data and empirical abilities: experience, association of concepts...) that culminate in the exhibition space, where the physical experience once again transcends the content of his photographs as part of a process of constant interaction between representation and the viewer's perception. Among his latest solo exhibitions are those held by the Guggenheim Museum in Bilbao (2011); Fotografiska (Swedish Museum of Photography, Stockholm, 2012) and the Community of Madrid at the Sala Canal de Isabel II, Madrid (2012). His work has earned him, among others, the City of Palma Award, the ABC Photography Award, Grand Prize of Honor at the Biennale of Art of Alexandria (Egypt), First Prize Villa de Madrid of photography. His works are part of collections such as MNCARS, Fundación La Caixa, ARTIUM, CAB, IVAM, AXXA, Museo Guggenheim Bilbao, MACUF, Foto Colectania, Fundación Telefónica, etc.

 

Beyond the documentary photography of architecture and industry, claiming the dilution factor and the transmutation of reality that is associated with photographic representation, Aitor Ortiz works with space, architecture and objects as elements that give rise to a series of visual and cognitive unknowns. a series of visual and cognitive unknowns. Ortiz is repeatedly interested in posing a series of dilemmas between representation and interpretation (perception) and establishes a relationship between the content of his images, the physical properties of the materials on which he reproduces his work and the position of the pieces in the exhibition space. Aitor Ortiz seeks to establish a broad spectrum of works and the relationships between the photographed places, the conscious and subconscious mechanisms involved in the process of manipulating an image: the eye (interpretation, framing, contextualization...), the camera (focusing/blurring, optical distortion, transmission of movement...) and the brain (the limitations of an imperfect artifact in the interpretation of data and empirical skills: experience, association of concepts...) culminating in the exhibition space, which culminate in the exhibition space, where the physical experience once again transcends the content of his photographs as part of a process of constant interaction between the representation and the perception of the viewer. Among his latest solo exhibitions are those held at the Guggenheim Museum in Bilbao (2011); Fotografiska (Swedish Museum of Photography, Stockholm, 2012); Fotografiska (Swedish Museum of Photography, Stockholm, 2012); Fotografiska (Swedish Museum of Photography, Stockholm, 2012). Photography, Stockholm, 2012) and the Community of Madrid at the Sala Canal de Isabel II, Madrid (2012). His work has earned him, among others, the City of Palma Award, the ABC Photography Award, Grand Prize of Honor at the Biennale of Art of Alexandria (Egypt), First Prize Villa de Madrid of photography. His works are part of collections such as MNCARS, Fundación La Caixa, ARTIUM, CAB, IVAM, AXXA, Museo Guggenheim Bilbao, MACUF, Foto Colecto Bilbao, MACUF, Foto Colectania, Fundación Telefónica, etc. In Amorfosis, the photographic material is Architecture, more precisely, the construction, analyzed in this case from its limits: the architecture before its culmination, when the building is still a formless and precarious skeleton, as well as its final catastrophe, when the accident has happened and the imposing mass of the building has been reduced to a formless mass. In these pieces there is a dialectic between documentary and dramatization, between pure register and narrative. On the one hand, the documentation on architecture, which functions as a base element for information, as a record of what has been built, but on the other hand, this objective data is dramatized - staged - through its spatial arrangement within the architecture of the room. Not so much photographs about space as photographs in space; not so much photographs about construction as photographic constructions.