Enbaxada de belar landa-ikerketako proiektu bat eta instalazio bat da. Erruderalitateari heltzen dio metodologia gisa, eta nire doktoretza-ikerketaren parte da. Galdera bat planteatzen du proiektuak: Zer gertatzen da landare erruderal batek bere bizitza garatzen duen bezala garatzen denean ikerketa artistiko bat? Eta, funtsean: Nork erabakitzen du non zaren onartua eta non ez? Eta, zer irizpideren arabera?
Donostia leku zoragarria da ikerketa honetarako. Lehenengo lana ikertzea da: hainbat astez hiriko bazter erruderaletan, Urumea ibaiaren ertzetan eta trantsizio-zerrendetan ibiltzea. Ibilaldi hauetara elkartu nahi duen edonor ongi etorria da. Auzoan hazi izan denak badaki bere amona zein landarerekin geratzen zen eta zeintzuk erauzten zituen. Lorezain batek badaki zer sustraik hondatzen dituzten tresnak. Ibaiertzean lan egiten duenak badaki non aldatzen den lurra eta zer berragertzen den gero. Leku bat bertako biztanle saiatu eta gaitzetsienen bidez ezagutzea ikasteko modu berezi bat da, eta ezagutza hori lanaren parte da. Instalazioa landa-lanetik abiatzen da, lau guneren inguruan antolatutako enbaxada baten itxura hartuta; «belar txarrak zainak luze» errefrauaren pean, guneetako bakoitzak hartzen duen izenak «belar» hitzaren adiera desberdin bati omen egiten dio. Belar bortitzak, espaloiak hausten dituztenak, bildutako espezimenen irudi eta eskultura bihurtzen dira. Belar sendoak, landare iraunkor eta sustrai sakonekoak —sustraien masak ezkutatu egiten du landarearen ageriko zatia— sustraiez eta lurraz osatutako ukipen-instalazio bihurtzen dira. Belar finak, espezie jangarri eta sendagarriak, dastatzeko postu bihurtzen dira, landa-laneko lehengaiekin prestatutako teak eta infusioak eskaintzean. Belar txarrei, arantzatsu eta gogorrei, pasaporte-leihatila bat, zigilu bat eta dokumentu txiki bat ematen zaizkie. Ez da aldez aurretik zehaztu gune bakoitzari zer landare esleitu; landa-lanaren emaitza izan da, erraz sailkatuak izateari aurka egiteko landare partikular horiek erakutsitako erresistentziaren emaitza; berez, erresistentzia politikoa.
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Pati Starzykowski artista eta ikertzaile transdiziplinarra da. Artea, ekologia eta politika sozioespaziala dira bere lanaren ardatza. Bere obrak ekologia baztertuak esploratzen ditu ezagutza-iturri eta agentzia politiko gisa, eta horretarako erabiltzen dituen baliabideak dira eskultura, irudikapena, ingurunearekiko esku-hartze sentikorrak, gorputz-praktika, mugimendudun irudia eta argazkilaritza. Bere azken proiektuen artean nabarmentzekoak dira The Trial of the Unwanted (Viborg Kunsthal, 2026), Manifesto in Defence of Pigeonisation eta Ruderals of Venice (Veneziako Arkitektura Bienala, 2025, British Council Fellow). Patik Arte eta Zientziako master bat egin du Central Saint Martinsen (2022) eta doktoretza bat egiten ari da Canterbury School of Art, Architecture and Designen (UCA). Era berean, ikertzaile praktikatzailea da Stockholmeko Artearen Errege Institutuko OPI Laben (2026-2027). Bere lanak Londresko Udaleko komisio baten babesa jaso du.
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\n
\nBere lana erakunde garrantzitsuetan erakutsi da, besteak beste, Fundación Serralves (Oporto), MAAT – Arte, Arkitektura eta Teknologia Museoa (Lisboa), Museu Coleção Berardo (Lisboa), MNAC – Museu Nacional de Arte Contemporânea do Chiado (Lisboa), Kunsthalle Lissabon (Lisboa) eta SESC Pompeia (São Paulo). Nazioartean, São Pauloko 32. biurtekoan (2016), Istanbulgo 13. biurtekoan (2013), Uraletako Arte Garaikideko 4. Industria Biurtekoan (Errusia, 2017) eta Manifesta 8an (Murtzia - Cartagena, 2011) parte hartu du. Beste erakusketa aipagarri batzuk La Réplica Infiel CA2M-en (Madril), Les Urbaines MCBA-n (Lausana) eta Le lynx ne connaît pas de frontières Fondation Ricard-en (Paris) dira.
\n
\nFilipek hainbat beka eta egoitza jaso ditu, horien artean Calouste Gulbenkian Fundazioaren beka bat Acme Studiosen (Londres, 2009), AIR Antwerpen (Belgika, 2014), Robert Rauschenberg Fundazioaren egoitza (Florida, AEB, 2015), Krinzinger Projekte (Viena, 2017) eta Peacock & The Worm (Aberdeen, Eskozia, 2023). Bere lanak bilduma publiko garrantzitsuen parte dira
\n
\nFilipek FLAD Marrazki Saria jaso zuen 2023an eta, 2024an, arte plastikoen erakusketarik onenaren saria Serralveseko Museoan \"In My Own Language I am Independente\" lanagatik, SPAk (Portugalgo Egileen Elkarteak) emana.
Arte Ederretan lizentziaduna da Euskal Herriko Unibertsitatean, eta bere prestakuntza zabaldu egin du Julie Mehretu, Esther Ferrer, Itziar Okariz, Andrés Duque, Miroslaw Balka eta Peio Aguirre artista eta komisarioekin.
\n
\nIdeologiaren, irudikapenaren eta memoriaren artean sortzen diren tentsioen inguruan egiten du lan, eta pinturatik, instalaziotik edo argazki-artxibotik, proiektu politiko etenen arrasto fisikoak eta erresistentzia kolektiboko beste forma batzuk aztertzen ditu. Interes horrek bultzatuta, gatazkak zeharkatutako testuinguruetan lan egin du, hala nola Kurdistan Irakiarrean, Kuban, Txinan edo Mexikon.
\n
\nBere obra hainbat bilduma publiko eta pribatutan dago, eta hainbat erakundetan izan ditu erakusketak, hala nola Tabacaleran (Madril), Nafarroako Museoan, Erromako Espainiako Akademian, San Telmo Museoan (Donostia), CIAJGen (Guimarães) eta Carreras Múgican (Bilbo), Pelairesen (Palma), Nordesen (Santiago de Compostela) eta Espacio Enhorabuena (Madril) galerietan.
\n\n
Ángel Calvo Ulloa (Lalín, 1984) komisarioa eta idazlea da. Artearen Historian lizentziatua (USC) eta Arte Garaikideko Masterra: Sorkuntza eta Ikerketa UVigon. O Fantasma da Liberdade/Anozero 2024ko Coimbrako Bienaleko komisarioa izan da, Marta Mestrerekin batera.
\n
\nBere azken proiektu kuratorialen artean Jordi Teixidor nabarmentzen da. No-res, Sala Alcalá 31 (Madril); Juan Uslé. Ese barco en la montaña, Reina Sofia Museoan (Madril); ¿Adónde irá el pájaro que no vuele?, La Casa Encendidan (Madril); Humores y Espesores, Rodriguez-Mendez, CA2Men (Mostoles); El sueño de la cólcedra, Teresa Lanceta, Patio Herreriano Museoan (Valladolid); Siron Franco: Pensamento insubordinado (Trabalhos, 1961-2023), MAC Goiàsen (Brasil); Anidar en el gesto: unas estanterias de Alberto, Antonio Cerezales eta Cinia Fundazioan (Cerezales del Condado, Leon); Autoconstrucción. Piezas sueltas. Antonio Ballester Morenoren Juego y experiencia, Artiumen (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) edo, Nuria Enguitarekin batera, Habitación. El Archivo F.X., las chekas psicotécnicas de Laurencic y la función del arte,, CA2Men (Madril), MNACen (Bartzelona) eta La Nauren (ValentziHabitación.a). 2011z geroztik, hainbat erakundetan komisario lanak egin ditu, besteak beste, Caixaforumen (Bartzelona), MARCOn (Vigo), CCEMx-en (Mexiko Hiria), Luis Seoane Fundazioan (A Coruña), Tabacaleran (Madril), Centro Párragan (Murtzia) eta EACCn (Castelló).
\n
\n2020an, Desde lo curatorial. Conversaciones, experiencias y afectos, liburua argitaratu zuen Juan Canelarekin batera. Consonniren Paper Bildumaren barruan.
HU /هُو. Bailad como si nadie os viera (Egin dantza inor begira ez balego bezala) Oliver Laxeren instalazio bat da, Sirāt filmaren unibertsotik sortua.
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