Aitor Ortiz

Aitor Ortiz - Millau 004

Technique: Digital 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, Telefónica Foundation, etc. In Millau, space is opened up, or returned, to an experience of place. The play of dimensions, the apparent modification of scales, are not here the result of a specular process, as in previous projects, but the direct result of a record of human action. The reflection he proposes has to do with constructive and landscape hypertrophy, with the tension that derives from the superimposition of figure and background, with the sensory perception of distance, and ultimately with the (lost?) place of the human scale.