{"product_id":"ukitu","title":"Ukitu","description":"\u003cdiv id=\":ti\" class=\"Am aiL Al editable LW-avf tS-tW tS-tY\" aria-label=\"Cuerpo del mensaje\" role=\"textbox\" aria-multiline=\"true\" spellcheck=\"false\" aria-owns=\":w9\" aria-controls=\":w9\" aria-expanded=\"false\" tabindex=\"1\"\u003e\n\u003cdiv\u003e\n\u003cem\u003eUkitu\u003c\/em\u003e, published on the occasion of a dual exhibition at Kutxa Fundazioa and Tabakalera in San Sebastian, brings together a selection of the most recent works by Maider López (San Sebastián, 1975), one of the most established and recognised artists on the contemporary Basque art scene.\u003cbr\u003e\u003cbr\u003eMaider López’s projects draw on the everyday —small gestures and ordinary situations which, when amplified, have the power to disrupt what seemed fixed, opening up new possibilities for connection with others and with the environment. This attention to the minor also implies a reflection on time: many of her works invite us to pause, to become aware, to experience, and to generate memories that endure in both individual and collective consciousness, beyond the fleeting moment of action.\u003cbr\u003e\u003cbr\u003eAt a time when the notion of the collective should be seen as a necessity, the social dimension of her practice acquires particular relevance. Her work activates participatory dynamics that invite us to think about and inhabit the collective through artistic practice.\u003cbr\u003e\u003cbr\u003eThe title, \u003cem\u003eUkitu\u003c\/em\u003e [Touching], refers to the artist’s ability to unsettle and transform the contexts in which she works, as well as to the centrality of the sense of touch in some of her recent projects. It also evokes the affective dimension of art —how we touch and allow ourselves to be touched.\u003cbr\u003e\u003cbr\u003eThe book includes the essay “Touching and Disrupting” by exhibition curator Aimar Arriola, and a conversation between Maider López and Hans Ulrich Obrist, where they delve into topics such as the creation of temporary collectivities, the public space, and art’s capacity to generate systems of relation and transformation.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMaider López (San Sebastián, 1975) develops her work through interventions in public space and architecture. Her projects often require the participation of the viewer, who becomes part of a subtly altered environment. Her work has been widely exhibited both nationally and internationally, including at the Venice Biennale (2005), the Sharjah Biennial (2009), and the Istanbul Biennial (2013).\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAmong her solo exhibitions, projects and actions are: \u003c\/em\u003eTocar el Museu\u003cem\u003e, Museu d’Art Modern, Tarragona (2024); \u003c\/em\u003eArnasa\u003cem\u003e, Museo de Bellas Artes, Bilbao (2022); \u003c\/em\u003eArt is happening\u003cem\u003e, Statens Konstråd, Sweden (2019); \u003c\/em\u003e1645 Tizas\u003cem\u003e, Matadero Madrid (2016); \u003c\/em\u003eDesplazamiento\u003cem\u003e, Koldo Mitxelena, San Sebastián, and MARCO, Vigo (2015); \u003c\/em\u003eMountain\u003cem\u003e, Lower Austria Contemporary (2013); \u003c\/em\u003ePolder Cup\u003cem\u003e, Skor and Witte de With, Netherlands (2010); \u003c\/em\u003eÉclats\u003cem\u003e, Centre Pompidou-Metz (2010); Towada Art Center, Japan (2010); \u003c\/em\u003eLine of Sight\u003cem\u003e, Zendai Museum of Modern Art, Shanghai (2008); \u003c\/em\u003eAdosAdos\u003cem\u003e, Guggenheim Bilbao (2007); and \u003c\/em\u003eColumnes\u003cem\u003e, CaixaForum, Barcelona (2006).\u2028\u2028\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eShe has also participated in numerous group exhibitions, including \u003c\/em\u003eL’Invention du quotidien\u003cem\u003e, CAPC Musée d’Art Contemporain, Bordeaux (2025); \u003c\/em\u003eChanging Skies\u003cem\u003e, Cappadox, Uçhisar, Turkey (2024); \u003c\/em\u003eHummings\u003cem\u003e, KØS Museum of Art in Public Spaces, Denmark (2021); \u003c\/em\u003eProspect 4. Contemporary Art Triennial\u003cem\u003e, New Orleans (2017); \u003c\/em\u003ePlay Time\u003cem\u003e, Les Ateliers de Rennes, 4th Biennale d’Art Contemporain, Rennes, France (2014); \u003c\/em\u003eMom, I am Barbarian?\u003cem\u003e, 13th Istanbul Biennial (2013); \u003c\/em\u003eSharjah Biennial 9\u003cem\u003e, United Arab Emirates (2009); \u003c\/em\u003eSCAPE Christchurch Biennial of Art in Public Space\u003cem\u003e, New Zealand (2008); and \u003c\/em\u003e51st Venice Biennale\u003cem\u003e (2005).\u2028\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eISBN 978-84-09-76411-2\u2028\u2028\u003c\/div\u003e\n\u003cdiv\u003eDalpine, 2025\u2028\u2028\u003cbr\u003eText: Aimar Arriola\u003c\/div\u003e\n\u003cdiv\u003eDesign: Joaquín Gáñez\u2028\u2028\u003c\/div\u003e\n\u003cdiv\u003eFotomecánica e impresión: Artes Gráficas Palermo\u2028\u2028\u003c\/div\u003e\n\u003cdiv\u003eHardcover\u2028\u2028\u003c\/div\u003e\n\u003cdiv\u003e17x23 cm\u2028\u2028\u003c\/div\u003e\n\u003cdiv\u003e335 pages\u2028\u2028\u003c\/div\u003e\n\u003cdiv\u003e288 photographs\u003cbr\u003eLanguage: Basque, Spanish \u0026amp; English\u003cbr\u003eIncludes a conversation between Maider López and Hans Ulrich Obrist\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cspan class=\"gmail_signature_prefix\"\u003e\u003c\/span\u003e\u003ca href=\"http:\/\/www.dalpine.com\/\" target=\"_blank\"\u003e\u003cspan style=\"font-family: garamond, times new roman, serif;\"\u003e\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/div\u003e","brand":"Dalpine","offers":[{"title":"Default Title","offer_id":52675167912279,"sku":"Ukitu","price":42.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0830\/5567\/3687\/files\/Ukitu-portada_recortada.png?v=1769762277","url":"https:\/\/ibizaonestop.com\/products\/ukitu","provider":"Ibiza One Stop","version":"1.0","type":"link"}