Fermín Díez de Ulzurrun – Pamplona, Navarra, Spain

ARBEIT MACHT FREI, Steel, 5225 x 1250 x 50 Cm, 2012

ARBEIT MACHT FREI, Steel, 5225 x 1250 x 50 Cm, 2012

Briefly describe the work you do. 

My job is developed as a means to understand the continuous changes or adjustments in capitalism and how these changes affect the middle classes in areas ranging from social organization, lifestyle and hegemonic identity, conditioned by their cycles.I raise my work as a generator of collaborative models as opposed to the hegemonic production models that have occurred since the beginning of industrialization in order to redefine sustainable model.I also question how productive models hegemonic economic model affect people and how they are defining organizational models of consumption patterns, etc.

Tell us about your background and how that has had an influence on your work and on you as an artist.

As industrial designer I try to analyze situations from a rational point of view with the intention of articulating an ideological speech that produce small changes in my immediate environment.

THE INFINITE MONKEY THEOREME, Bronce and aluminum casting, variable dimensions, 2011

THE INFINITE MONKEY THEOREME, Bronce and aluminum casting, variable dimensions, 2011

The concept of the artist studio has a broad range of meanings in contemporary practice. Artists may spend much of their time in the actual studio, or they may spend very little time in it. Tell us about your individual studio practice and how it differs from or is the same as traditional notions of “being in the studio.”

In my opinion the studio is only a place to think, read, and put on paper ideas. My projects happen elsewhere and with people involved on it.

What roles do you find yourself playing that you may not have envisioned yourself in when you first started making art?

At the beginning of my career I didn´t think that writing proposals, budgets and other “red tape” was so necessary to the artistic practice. Another aspect that I didn’t consider is the paper of the artist as curator for some projects.

When do you find is the best time to make art? Do you set aside a specific time everyday or do you have to work whenever time allows?

A contemporary artist, in my opinion, is always working.

CAPITALISM NEVER HAPPENED, 23 dollar bills cutted, work in progress from 1$ to 100$, 2010

CAPITALISM NEVER HAPPENED, 23 dollar bills cutted, work in progress from 1$ to 100$, 2010

How has your work changed in the past five years? How is it the same?

It´s more and more relational and more and more ideological.

How have people such as family, friends, writers, philosophers, other artists or even pop icons had an impact on the work you do?

“How will this thought or action contribute to, or interfere with, the achievement, by me and the greatest possible number of other individuals, of man’s Final End?”

This Aldous Huxley quote was with me from the beginning of my career and defined the ideological background of my artistic production.

Have you ever been pulled in the direction of a pursuit other than being an artist? What are your other interests? 

Musician.

About

5 (1)Industrial designer, graduated in management of industrial plants by the Polytechnic University of Catalonia. He combines his professional work as an industrial manager in the automotive industry with his artistic career. He has received grants from the Government of Navarra and the CIEC conducting several solo exhibitions which include : -Reunión – Windsor Kulturgintza (Bilbao), -ARBEIT MACHT Frei in the C.A.C.H. or -KILL YR . -33430467 – J- IDOLS- at the Citadel of Pamplona. He has also participated in group shows as -Budget € 6 : artistic practice and precariousness- OFF LIMITS (Madrid) , curated by Cabello – Carceller and Generations of Caja Madrid project.

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fermindiezdeulzurrun.es

All images copyright of the artist and used with their permission. 

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About 365Artists/365Days

The purpose of this project is to introduce its readership to a diverse collection of art that is being produced at the national and international level. Our goal is to engage the public with information regarding a wide array of creative processes, and present the successes and failures that artists face from day to day. The collaborators hope that this project will become a source for exploring and experiencing contemporary art in all its forms.
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