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Beste hainbat proiektu ere jarriko zituen abian, esaterako Malrauxi igorritakoa Ipar Euskal Herriak Ikerkuntza Estetikorako Institutu bat sortzeko, edota Elorrion Haur Unibertsitate pilotu bat antolatzeko, Gasteizko Euskal Antropologia Estetikoaren Museorako, abangoardiako artea espresio tradizionalaren formekin bateratzeko, eta Euskal Eskolako talde, Debako Eskola eta abarretarako.
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Finally, faced with the Nothingness formed by these conclusions, Oteiza had to face up to an ethical question: Once an experimental process was over, should the artist continue to painstakingly stick to his own form of expression, or should he switch to another stage, abandon his professional activity and embrace new methods of creative intervention in society? Oteiza answered his own question, convinced that the definitive meaning of art lay outside art itself: “If the contemporary artist doesn’t expire in art, the man with a new existential sensibility cannot be born and the politically new man cannot begin”. Silence, the result of a language based on absence and emptiness, must end in a lack or a void of language. After abandoning sculpture, Oteiza was to publish his book Quosque Tanden! in 1963. This was a text that sums up many of the theoretical concerns that had accompanied him throughout his life and career since the 1930s, and formed the basic reference book for the Basque political and cultural intelligentsia of the time. Later on, he wrote Spiritual exercises in a Tunnel, which was banned by Franco’s censors, and wasn’t published until the 1980s, although it was widely circulated in a photocopied version. At the same time he began his experiments in the field of cinema with the film project Acteón for the production company, X-films, although it was finally made by another director in a totally different version to the one conceived by Oteiza. He also began various projects such as the one he sent to Malraux for an Institute of Aesthetic Research in the French Basque Country, a pilot children’s university for Elorrio, a Basque Aesthetic Anthropology Museum project for Vitoria, an art gallery project as a production company, a project to integrate the avant-garde into traditional forms of expression, the Basque School and Deva School groups, etc. Most of these projects were resounding failures and the ones that did get launched were never up to Oteiza’s expectations.
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