Aitor Ortiz

Aitor Ortiz - Millau 004

Técnica: Digital photography impression on aluminum

Biografía del Artista: Bilbao, Spain. 1971 Beyond 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 places photographed, the conscious and subconscious mechanisms involved in the process of manipulating an image: the eye (interpretation, frame, contextualization...), the camera (focus/blur, optical distortion, transmission of movement...) and the brain (the limitations of an imperfect artefact in the interpretation of data and empirical skills: 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 perception of the viewer. His most recent solo exhibitions include those held at 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 Prize, the ABC Photography Prize, the Grand Prize of Honor of the Alexandria Art Biennial (Egypt), and the First Prize of the Villa de Madrid Photography Prize. His works are part of collections such as MNCARS, La Caixa Foundation, ARTIUM, CAB, IVAM, AXXA, Guggenheim Museum Bilbao, MACUF, Foto Colectania, Fundación Telefónica, etc.

Beyond 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 places photographed, the conscious and subconscious mechanisms involved in the process of image manipulation: the eye (interpretation, frame, 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 skills: experience, association of concepts...) that They culminate in the exhibition space, where the physical experience once again transcends the content of the photographs as part of a process of constant interaction between the representation and the perception of the viewer. Among his most recent solo exhibitions are those held at the Guggenheim Museum in Bilbao (2011); Fotografiska (Swedish Museum of Photography, Stockholm, 2012) and the Community of Madrid at the Canal de Isabel II Gallery, Madrid (2012). His work has earned him, among others, the City of Palma Prize, the ABC Photography Prize, the Grand Prize of Honor at the Alexandria Art Biennial (Egypt), and the First Prize of the City of Madrid for photography. His works are part of collections such as MNCARS, La Caixa Foundation, ARTIUM, CAB, IVAM, AXXA, Guggenheim Museum 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 arises from the superposition of figure and background, with the sensory perception of distance, and ultimately with the (lost?) place of the human scale.