Ibon Aranberri

Verket Sources without qualities (2016-2019) består av en rad abstrakta metallformer – cylindrar, rektanglar, kuber – som Aranberri hittat i olika magasin för industrihistoriska kulturarv i Baskien. De abstrakta föremålen var oklassificerade och deras ursprungliga funktion bortglömd. Genom efterforskning konstaterades att formerna gjorts under förra seklet, som formövningar för lärlingar anställda i den lokala vapenindustrin.

Installationen på Göteborgs Konsthall refererar till dessa geometriska former, som i huvudsak såg likadana ut under övergången från manuellt till maskinellt arbete, och i skiftet från militär till civilproduktion efter andra världskriget.

De metallblock som presenteras här, skurna från standardiserade stållängder enligt konstnärens specifikationer, är utlagda i rummet utifrån storlek och vikt, med fokus på form snarare än funktion. Vad kan deras potential vara utöver den industriella funktionen?


In English: The starting point for the work Sources without qualities (2016-2019) was a series of abstract metal shapes encountered by the artist in different storages for industrial heritage objects throughout the Basque Country.

The abstract objects were unclassified and their original function had been forgotten. After research by the artist, it was established that the shapes had been made during the last century as formal exercises by apprentices employed in the local arms industry.

The installation at Göteborgs Konsthall references this vocabulary of geometric forms, that essentially stayed the same throughout the shift from manual to machine labour, and the change from military to civil production in the period after the Second World War. This migration of forms traces the modern project of building a common language for a new society and material culture that includes manufacture as well as art. As the production of gun pipes evolved into the production of bicycle frames, the formal vocabulary and methods of manufacture stayed the same, but with different outcomes. The metal blocks presented here in Gothenburg, cut to the artist specifications from standardized lengths of steel, are distributed in the room according to size and weight, emphasizing their form rather than function. What might their potential be, beyond their application in the functional context of industry?