{"id":25299,"date":"2016-06-27T06:00:37","date_gmt":"2016-06-27T04:00:37","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=25299"},"modified":"2022-02-15T11:45:24","modified_gmt":"2022-02-15T10:45:24","slug":"el-rostro-de-la-ciudad-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-rostro-de-la-ciudad-inigo-garcia-odiaga\/","title":{"rendered":"[:es]El rostro de la ciudad | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]O rostro da cidade | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The face of the city | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"\"
Murals, 2012, Busan | Hendrik Beikirch, alias ECB<\/span><\/figcaption><\/figure><\/p>\n

Hace ya a\u00f1os que la ciudad ha ganado su pulso al campo. La ciudad es sin\u00f3nimo de vida urbana, de actividad econ\u00f3mica y de oferta cultural y comercial, pero no siempre lo es de bienestar o calidad de vida.<\/p>\n

Las grandes urbes del sudeste asi\u00e1tico son las ciudades del planeta con mayor ritmo de crecimiento, pero tambi\u00e9n son las que condensan peores condiciones de vida. Este modelo de crecimiento ilimitado ha situado adem\u00e1s el centro de gravedad de la ciudad en su desarrollo econ\u00f3mico, olvidando por completo la componente social de la urbe. Si hacemos un recorrido por los centros de todas estas megaurbes, descubriremos una especie de no lugar, de lugar com\u00fan donde los elementos se repiten copiando un mismo modelo que es el que parece conducir al \u00e9xito financiero, pero que por contra ha borrado cualquier rasgo propio de la identidad del lugar. Esa globalizada falta de identidad ha borrado tambi\u00e9n al sujeto, a la persona, de modo que parecer\u00eda que las grandes ciudades se encuentran hoy habitadas por marcas y lobbys en lugar de por personas.<\/p>\n

\"b-hong-kong-
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | Fuente: JR<\/a><\/span><\/figcaption><\/figure>\n

El mundo del arte se ha dado cuenta de esta deriva y ya ha comenzado a cuestionarla y criticarla mediante acciones concretas.<\/p>\n

El artista alem\u00e1n Hendrik Beikirch<\/a>, m\u00e1s conocido por su alias BCE, acaba de inaugurar en Busan, Corea del Sur, el mayor mural jam\u00e1s pintado en Asia. La pieza de 95 metros de alto es un retrato de un pescador de 60 a\u00f1os de edad, que contrasta con la crudeza de complejo de rascacielos Haeundae I’Park dise\u00f1ados por el arquitecto Daniel Libeskind, un complejo financiero que quiere erigirse como el nuevo icono de la ciudad. Libeskind es tambi\u00e9n el arquitecto responsable de las nuevas torres del World Trace Center en Nueva York, y de hecho el dise\u00f1o de ambos complejos financieros es similar.<\/p>\n

\"\u201cInside
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | Fuente: JR<\/a><\/span><\/figcaption><\/figure>\n

El mural critica el r\u00e1pido crecimiento y la modernizaci\u00f3n de Corea del Sur y sirve como un recordatorio de las ra\u00edces de la ciudad en pleno distrito financiero. Busan fue una vez un peque\u00f1o pueblo de pescadores en el sur de Corea. Mientras la ciudad se transformaba y se convert\u00eda en un centro internacional, se perd\u00eda la esencia misma de \u00e9sta. El retrato del pescador no es s\u00f3lo un recuerdo del pasado, sino tambi\u00e9n de aquellos que a\u00fan trabajan en su vejez en los muelles sin descanso. Una consecuencia del acelerado crecimiento que ha olvidado los aspectos sociales y ha perjudicado a las clases menos favorecidas.<\/p>\n

\"\u201cInside
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | Fuente: JR<\/a><\/span><\/figcaption><\/figure>\n

Con la misma actitud el\u00a0artista\u00a0urbano de origen franc\u00e9s JR<\/a> ha inaugurado su nuevo proyecto en Hong Kong. En el down town de la ciudad, en una zona de inmensos rascacielos en la que no queda espacio para el peat\u00f3n, JR ha utilizado precisamente el \u00faltimo reducto de los ciudadanos, un paso peatonal elevado para salvar la mara\u00f1a de tr\u00e1fico que corre bajo las torres, como soporte para su instalaci\u00f3n.<\/p>\n

Diecis\u00e9is rostros an\u00f3nimos de habitantes de Hong Kong, impresos a gran escala, cubren la cubierta de la pasarela. Caras an\u00f3nimas que miran las fachadas de las torres y a quien ellas habitan reivindicando un espacio, un lugar para el ciudadano, en las transacciones y movimientos estrat\u00e9gicos que se negocian en esos despachos.<\/p>\n

\"face-to-face-1\"
Face to Face, Palestina, 2007 | Fuente: JR<\/a><\/span><\/figcaption><\/figure>\n

Tal vez m\u00e1s provocativa fue la intervenci\u00f3n de este artista franc\u00e9s sobre el muro de Gaza.<\/p>\n

En el a\u00f1o 2005, decidi\u00f3 viajar a Oriente Medio para averiguar por qu\u00e9 los palestinos y los israel\u00edes no pod\u00edan encontrar la manera de convivir juntos en paz.<\/p>\n

Deambul\u00f3 por las ciudades israel\u00edes y palestinas intentando obtener informaci\u00f3n y comprender la situaci\u00f3n. Descubri\u00f3 que esos lugares son sagrados para el juda\u00edsmo, el cristianismo y el Islam, y tambi\u00e9n constat\u00f3 que el \u00e1rea es paisaj\u00edsticamente impresionante, un lugar donde confluyen las monta\u00f1as, el mar y los desiertos en escasos kil\u00f3metros. Pero de alguna manera, el territorio, el paisaje o las religiones se hab\u00edan puesto por encima de las personas, que parec\u00edan no entrar en la ecuaci\u00f3n.<\/p>\n

Curiosamente las personas a ambos lados del muro tienen el mismo aspecto, hablan casi el mismo idioma, podr\u00edan ser como hermanos gemelos criados en familias diferentes.<\/p>\n

Un religioso palestino tiene su hom\u00f3logo en el otro lado. Un campesino, un taxista, un profesor, tienen sus equivalencias en frente de ellos. Para el artista la soluci\u00f3n era evidente, hab\u00eda que poner cara al conflicto, identificar a las personas para borrar las diferencias.<\/p>\n

\"Face
Face to Face, Palestina, 2007 | Fuente: JR<\/a><\/span><\/figcaption><\/figure>\n

El proyecto Face to Face consisti\u00f3 en tomar retratos de palestinos y de israel\u00edes haciendo el mismo trabajo, imprimirlos en formatos grandes, y colocarlos en lugares clave sobre el muro que separa ambos pueblos. En el lado israel\u00ed se colocaron los retratos de los palestinos y viceversa. Este proyecto, fue tal vez la mayor exposici\u00f3n art\u00edstica ilegal al aire libre jam\u00e1s organizada. Este esfuerzo por colocar dentro del conflicto, a las personas en el primer lugar, por delante de religiones, econom\u00eda o poder, supuso un profundo choque, por lo que fue prohibido por el gobierno israel\u00ed.<\/p>\n

Puede resultar evidente que la ciudad, el territorio o la arquitectura est\u00e1 construida para las personas, pero en ocasiones la potencia de esas mismas creaciones, su escala o su inercia, van apartando al ser humano del centro del discurso. Recuperar los rostros de los habitantes de las ciudades es algo m\u00e1s que un acto art\u00edstico, es en definitiva un acto que pretende devolver el protagonismo de la ciudad al ciudadano.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. arquitecto
\nSan Sebasti\u00e1n. Octubre 2012<\/p>\n

Publicado en ZAZPIKA 21.10.2012
\n<\/em><\/p>\n

 [:gl]

\"Murals,
Murals, 2012, Busan | Hendrik Beikirch, alias ECB<\/span><\/figcaption><\/figure><\/p>\n

Fai xa anos que a cidade ga\u00f1ou o seu pulso ao campo. A cidade \u00e9 sin\u00f3nimo de vida urbana, de actividade econ\u00f3mica e de oferta cultural e comercial, pero non sempre o \u00e9 de benestar ou calidade de vida.<\/p>\n

As grandes urbes do sueste asi\u00e1tico son as cidades do planeta con maior ritmo de crecemento, pero tam\u00e9n son as que condensan peores condici\u00f3ns de vida. Este modelo de crecemento ilimitado situou ademais o centro de gravidade da cidade no seu desenvolvemento econ\u00f3mico, esquecendo por completo a compo\u00f1ente social da urbe. Si facemos un percorrido polos centros de todas estas megaurbes, descubriremos unha especie de non lugar, de lugar com\u00fan onde os elementos rep\u00edtense copiando un mesmo modelo que \u00e9 o que parece conducir ao \u00e9xito financeiro, pero que por contra borrou calquera trazo propio da identidade do lugar. Esa globalizada falta de identidade borrou tam\u00e9n ao suxeito, \u00e1 persoa, de modo que parecer\u00eda que as grandes cidades at\u00f3panse hoxe habitadas por marcas e lobbys en lugar de por persoas.<\/p>\n

\"b-hong-kong-
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | JR<\/span><\/figcaption><\/figure>\n

O mundo da arte deuse conta desta deriva e xa comezou a cuestionarla e criticala mediante acci\u00f3ns concretas.El mundo del arte se ha dado cuenta de esta deriva y ya ha comenzado a cuestionarla y criticarla mediante acciones concretas.<\/p>\n

O artista alem\u00e1n Hendrik Beikirch<\/a>, m\u00e1is co\u00f1ecido polo seu alias BCE, acaba de inaugurar en Busan, Corea do Sur, o maior mural xamais pintado en Asia. A peza de 95 metros de alto \u00e9 un retrato dun pescador de 60 anos de idade, que contrasta coa crueza de complexo de ra\u00f1aceos Haeundae I’Park dese\u00f1ados polo arquitecto Daniel Libeskind, un complexo financeiro que quere erixirse como a nova icona da cidade. Libeskind \u00e9 tam\u00e9n o arquitecto responsable das novas torres do World Trace Center en Nova York, e de feito o dese\u00f1o de ambos os complexos financeiros \u00e9 similar.<\/p>\n

\"\u201cInside
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | JR<\/span><\/figcaption><\/figure>\n

O mural critica o r\u00e1pido crecemento e a modernizaci\u00f3n de Corea do Sur e serve como un recordatorio das ra\u00edces da cidade en pleno distrito financeiro. Busan foi unha vez un pequeno pobo de pescadores no sur de Corea. Mentres a cidade transform\u00e1base e convert\u00edase nun centro internacional, perd\u00edase a esencia mesma desta. O retrato do pescador non \u00e9 s\u00f3 un recordo do pasado, sen\u00f3n tam\u00e9n daqueles que a\u00ednda traballan na s\u00faa vellez nos peiraos sen descanso. Unha consecuencia do acelerado crecemento que esqueceu os aspectos sociais e prexudicou \u00e1s clases menos favorecidas.<\/p>\n

\"\u201cInside
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | JR<\/span><\/figcaption><\/figure>\n

Coa mesma actitude o artista urbano de orixe francesa JR<\/a> inaugurou o seu novo proxecto en Hong Kong. No down town da cidade, nunha zona de inmensos ra\u00f1aceos na que non queda espazo para o pe\u00f3n, JR utilizou precisamente o \u00faltimo reduto dos cidad\u00e1ns, un paso peonil elevado para salvar a mara\u00f1a de tr\u00e1fico que corre baixo as torres, como soporte para a s\u00faa instalaci\u00f3n.<\/p>\n

Dezaseis rostros an\u00f3nimos de habitantes de Hong Kong, impresos a gran escala, cobren a cuberta da pasarela. Caras an\u00f3nimas que miran as fachadas das torres e a quen elas habitan reivindicando un espazo, un lugar para o cidad\u00e1n, nas transacci\u00f3ns e movementos estrat\u00e9xicos que se negocian neses despachos.<\/p>\n

\"face-to-face-1\"
Face to Face, Palestina, 2007 | JR<\/span><\/figcaption><\/figure>\n

Talvez m\u00e1is provocativa foi a intervenci\u00f3n deste artista franc\u00e9s sobre o muro de Gaza.<\/p>\n

No ano 2005, decidiu viaxar a Oriente Medio para pescudar por que os palestinos e os israel\u00eds non pod\u00edan atopar a maneira de convivir xuntos en paz.<\/p>\n

Deambulou polas cidades israel\u00eds e palestinas tentando obter informaci\u00f3n e comprender a situaci\u00f3n. Descubriu que eses lugares son sacros para o xuda\u00edsmo, o cristianismo e o Islam, e tam\u00e9n constatou que a \u00e1rea \u00e9 paisaj\u00edsticamente impresionante, un lugar onde confl\u00faen as monta\u00f1as, o mar e os desertos en escasos quil\u00f3metros. Pero dalgunha maneira, o territorio, a paisaxe ou as relixi\u00f3ns pux\u00e9ronse por encima das persoas, que parec\u00edan non entrar na ecuaci\u00f3n.<\/p>\n

Curiosamente as persoas a ambos os dous lados do muro te\u00f1en o mesmo aspecto, falan case o mesmo idioma, poder\u00edan ser como irm\u00e1ns xemelgos criados en familias diferentes.<\/p>\n

Un relixioso palestino ten o seu hom\u00f3logo no outro lado. Un campesi\u00f1o, un taxista, un profesor, te\u00f1en os seus equivalencias en fronte deles. Para o artista a soluci\u00f3n era evidente, hab\u00eda que po\u00f1er cara ao conflito, identificar as persoas para borrar as diferenzas.<\/p>\n

\"Face
Face to Face, Palestina, 2007 | JR<\/span><\/figcaption><\/figure>\n

O proxecto Face to Face consistiu en tomar retratos de palestinos e de israel\u00eds facendo o mesmo traballo, imprimilos en formatos grandes, e colocalos en lugares crave sobre o muro que separa ambos os pobos. No lado israel\u00ed coloc\u00e1ronse os retratos dos palestinos e viceversa. Este proxecto, foi talvez a maior exposici\u00f3n art\u00edstica ilegal ao aire libre xamais organizada. Este esforzo por colocar dentro do conflito, \u00e1s persoas no primeiro lugar, por diante de relixi\u00f3ns, econom\u00eda ou poder, supuxo un profundo choque, polo que foi prohibido polo goberno israel\u00ed.<\/p>\n

Pode resultar evidente que a cidade, o territorio ou a arquitectura est\u00e1 constru\u00edda para as persoas, pero en ocasi\u00f3ns a potencia desas mesmas creaci\u00f3ns, a s\u00faa escala ou a s\u00faa inercia, van apartando ao ser humano do centro do discurso. Recuperar os rostros dos habitantes das cidades \u00e9 algo m\u00e1is que un acto art\u00edstico, \u00e9 en definitiva un acto que pretende devolver o protagonismo da cidade ao cidad\u00e1n.o.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. arquitecto
\nSan Sebasti\u00e1n. Outubro 2012<\/p>\n

Publicado en ZAZPIKA 21.10.2012
\n<\/em><\/p>\n

 [:en]

\"Murals,
Murals, 2012, Busan | Hendrik Beikirch, alias ECB<\/span><\/figcaption><\/figure><\/p>\n

Already for years the city has gained his pulse to the field. The city is synonymous of urban life, of economic activity and of cultural and commercial offer, but not always it it is of well-being or quality of life.<\/p>\n

The big cities of the Asian southeast are the cities of the planet with major pace of growth, but also they are those who condense worse living conditions. This model of unlimited growth has placed in addition the gravit center of the city in his economic development, forgetting completely social componente of the city. If we do a tour for the centers of all these megacities, we will discover a species of not place, of common place where the elements repeat themselves copying the same model who is the one that it seems to lead to the financial success, but that for against has erased any own feature of the local identity. This included lack of identity has erased also the subject, the person, so that it would seem that the big cities are lived today by brands and lobbies instead of by persons.<\/p>\n

\"b-hong-kong-
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | JR<\/span><\/figcaption><\/figure>\n

The world of the art has realized this drift and already it has begun to question and to criticize her by means of concrete actions it.<\/p>\n

The German artist Hendrik Beikirch<\/a>, more known by his alias ECB, has never just inaugurated in Busan, South Korea, the major identical mural in Asia. The piece of 95 meters of high place is a portrait of a 60-year-old fisherman of age, who confirms with the crudeness of complex of skyscraper Haeundae I’Park designed by the architect Daniel Libeskind, a financial complex that wants to be raised as the new icon of the city. Libeskind is also the architect responsible for the new towers of the World Trace Center in New York, and of fact the design of both financial complexes is similar.<\/p>\n

\"\u201cInside
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | JR<\/span><\/figcaption><\/figure>\n

The mural criticizes the rapid growth and the modernization of South Korea and serves as a follow-up of the roots of the city in full financial district. Busan was once a small people of fishermen in the south of Korea. While the city was transforming and was turning into an international center, the essence itself was getting lost of this one. The portrait of the fisherman is not only a recollection of the past, but also of those that still are employed at his oldness at the wharves without rest. A consequence of the intensive growth that has forgotten the social aspects and has harmed to the least favored classes.<\/p>\n

\"\u201cInside
\u201cInside Out: The People\u2019s Art Project\u201d, 2011, Hong Kong | JR<\/span><\/figcaption><\/figure>\n

With the same attitude the urban artist of French origin JR<\/a> has inaugurated his new project in Hong Kong. In the down town of the city, in a zone of immense skyscrapers in which space does not stay for the pedestrian, JR has used precisely the last redoubt of the citizens, a pedestrian step raised to save the tangle of traffic that runs under the towers, as support for his installation.<\/p>\n

Sixteen inhabitants’ anonymous faces of Hong Kong, large-scale forms, cover the cover of the gangplank. Anonymous faces that look at the fronts of the towers and whom they live claiming a space, a place for the citizen, in the transactions and strategic movements that are negotiated in these offices.<\/p>\n

\"face-to-face-1\"
Face to Face, Palestine, 2007 | JR<\/span><\/figcaption><\/figure>\n

Maybe more provocative it was the intervention of this French artist on the wall of Gaza.<\/p>\n

In the year 2005, it decided to travel to Middle East to quarrel why the Palestinians and the Israelis could not find the way of coexisting together in peace.<\/p>\n

He strolled for the Israeli and Palestinian cities trying to obtain information and to understand the situation. It discovered that these places are sacred for the Judaism, the christianity and the Islam, and also he stated that the area is paisaj\u00edsticamente impressively, a place where there come together the mountains, the sea and the deserts in scanty kilometres. But somehow, the territory, the landscape or the religions had put over the persons, who seemed not to enter the equation.<\/p>\n

Curiously the persons on both sides of the wall have the same aspect, speak almost the same language, they might be like twin brothers raised in different families.<\/p>\n

A religious Palestinian has his counterpart in another side. A peasant, a taxi driver, a teacher, have his equivalences opposite them. For the artist the solution was evident, it was necessary to put facing the conflict, identify the persons to erase the differences.<\/p>\n

\"Face
Face to Face, Palestine, 2007 | JR<\/span><\/figcaption><\/figure>\n

The project Face to Face consisted of taking portraits of Palestinians and of Israelis making the same work, stamp them on big formats, and place them in key places on the wall that separates both villages. In the Israeli side the portraits of the Palestinians were placed and vice versa. This project, it was never maybe the major artistic illegal exhibition outdoors organized. This effort for placing inside the conflict, to the persons in the first place, ahead of religions, economy or power, supposed a deep shock, for what it was prohibited by the Israeli government.<\/p>\n

It can turn out evident that the city, the territory or the architecture is constructed for the persons, but in cause the power of the same creations, his scale or his inertia, they are separating the human being of the center of the speech. To recover the faces of the inhabitants of the cities is something more than an artistic act, is definitively an act that tries to return the protagonism of the city to the citizen.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. architect
\nSan Sebasti\u00e1n. Octuber 2012<\/p>\n

It\u00b4s published inZAZPIKA 21.10.2012
\n<\/em><\/p>\n

 [:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Hace ya a\u00f1os que la ciudad ha ganado su pulso al campo. La ciudad es sin\u00f3nimo de vida urbana, de actividad econ\u00f3mica y de oferta cultural y comercial, pero no siempre lo es de bienestar o calidad de vida. Las grandes urbes del sudeste asi\u00e1tico son las ciudades del planeta con mayor ritmo de […]<\/p>\n","protected":false},"author":31,"featured_media":60197,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12449,156,1922,318,319,399,8968,516,12517,4285,1801,12461],"class_list":["post-25299","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arte","tag-arte-urbano","tag-asia","tag-ciudad","tag-ciudad-contemporanea","tag-cultura","tag-daniel-libeskind","tag-espacio-publico","tag-hendrik-beikirch","tag-inigo-garcia-odiaga","tag-intervencion-publica","tag-intervencion-urbana"],"yoast_head":"\n[:es]El rostro de la ciudad | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]O rostro da cidade | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The face of the city | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]El rostro de la ciudad | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]O rostro da cidade | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The face of the city | \u00cd\u00f1igo Garc\u00eda Odiaga[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/el-rostro-de-la-ciudad-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]El rostro de la ciudad | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]O rostro da cidade | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The face of the city | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - 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