• 01:46 The ambivalence of the initial anecdote
  • 04:52 Exaggerating the norm is a form of resistance
  • 06:35 Some icons and influences
  • 09:38 From Bartleby to Kafka, procrastination and other forms of efficiency
  • 12:59 Pieces of paper
  • 14:59 Sound pieces. A meditation related to time
  • 21:11 A precedent for the sound pieces: The history of the typewriter recited by Michael Winslow
  • 23:20 The demise of the physical office. Work that gradually becomes archaeological
  • 26:09 A gentle transition
  • 28:42 At Hangar, inventing a practice from scratch
  • 32:35 The artist’s routine
  • 38:35 A 10-hour workday
01/09/2015 38' 35''

Ignacio Uriarte is always associated with the anecdote of his past as an office worker, and of how, when he started working as an artist, he kept using the same gestures, materials, and skills as in his previous life. In his work, which is almost performative even though it is usually expressed in the form of objects, we find note pads, Excel sheets, filing cabinets, pens, typewriters, and pencils that evoke sixties Conceptual art and Minimalism and update them for the present from the confines of a twentieth century office cubicle. But beyond the easy anecdote, his extensive body of work uses seriousness and a sense of humour in equal measure to reflect on a diversity of topics ranging from order and popular culture to time.

To coincide with his participation in the exhibition 'Species of Spaces' with three new murals on paper, SON[I]A talks to Ignacio Uriarte about his daily routine as an artist, the demise of the physical office, the persistence of his imaginary, and about procrastination and over-compliance with rules as two different forms of resistance to imposed efficiency and productivity.

Son[i]aIgnacio Uriarteminimalism

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