{"id":3626,"date":"2026-04-07T10:25:29","date_gmt":"2026-04-07T10:25:29","guid":{"rendered":"https:\/\/obliquo.art\/?post_type=canela_portfolio&p=3626"},"modified":"2026-06-10T15:09:44","modified_gmt":"2026-06-10T15:09:44","slug":"gonzaga-gomez-cortazar","status":"publish","type":"canela_portfolio","link":"https:\/\/obliquo.art\/en\/canela_portfolio\/gonzaga-gomez-cortazar\/","title":{"rendered":"Gonzaga G\u00f3mez-Cort\u00e1zar Romero (13 MAY – 11 JUN)"},"content":{"rendered":"
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13 MAY – 09 JUN 2026<\/h3>\n\n\n\n

OBLIQUO<\/strong> presents Reverie<\/em> (2023), a solo exhibition by Gonzaga G\u00f3mez-Cort\u00e1zar Romero<\/strong>. The exhibition, curated by Mario Guti\u00e9rrez Cru<\/a>, is presented with the support of PROYECTOR<\/a>.<\/p>\n\n\n\n

\u201cThere is no document of culture which is not at the same time a document of barbarism.\u201d Walter Benjamin\u2019s well-known statement resonates quietly within Reverie<\/em>, a work that, through the apparent lightness of its form, places at its center one of the most persistent material conditions of our time: plastic as waste.<\/p>\n\n\n\n

At first glance, the piece unfolds through a minimal gesture: a sheet of plastic caught in the wind, continuously shifting across the landscape. Yet within this insistence lies a fundamental paradox: what appears ephemeral is, in fact, deeply enduring. Plastic\u2014residual product of an accelerated logic of consumption\u2014reveals itself here as one of the most stable, and problematic, elements of our environment.<\/p>\n\n\n\n

In this sense, Reverie<\/em> situates itself within a broader artistic tradition that has taken waste as a field of inquiry. Not as mere material reuse, but as a critical engagement with what society discards. The residue ceases to be invisible and becomes image, presence, symptom. What is expelled returns.<\/p>\n\n\n\n

The work operates through a restrained, almost minimalist aesthetic, in which the movement of the plastic acquires an ambiguous quality, somewhere between the choreographic and the accidental. This unexpected beauty does not negate its condition as waste; rather, it intensifies it. What drifts, what seduces, is also what persists.<\/p>\n\n\n\n

Presented in the storefront of OBLIQUO, within the specific context of the Lavapi\u00e9s neighborhood, the work establishes a direct relationship with the street. The exhibition device opens onto everyday circulation, blurring the boundary between inside and outside, between the artistic image and the urban environment. In this sense, Reverie<\/em> is not only displayed; it is inserted into a real landscape where plastic\u2014as waste\u2014is part of daily experience.<\/p>\n\n\n\n

The piece does not need to underline its ecological dimension or articulate an explicit discourse. Its strength lies in suspension: in that extended time in which the viewer is confronted with an image oscillating between fascination and discomfort. There is no resolution, only a question that persists.<\/p>\n\n\n\n

In that persistence, Reverie<\/em> activates a reflection on our relationship with the remnants we produce and on the capacity of art to appropriate them\u2014not to redeem them, but to return them to the field of visibility. Because perhaps, as the image itself suggests, what truly defines our landscape is not what we build, but what we leave behind.<\/p>\n\n\n\n

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Reverie<\/h4>\n\n\n\n

01:47
2023

Reverie<\/em> is an experimental work that explores the persistent presence of plastic in the landscape and its relationship with the wind. Through the image of a sheet of plastic in constant motion, the piece reflects on the apparent lightness and beauty of this material in contrast to its profound environmental implications.<\/p>\n\n\n\n

The work highlights the tension between attraction and degradation, inviting us to reconsider our relationship with waste and its permanence in the environment. With a minimalist aesthetic and a contemplative rhythm, Reverie<\/em> transforms an everyday object into a visual study of human impact on the landscape, evoking both fragility and resilience.
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Gonzaga G\u00f3mez-Cort\u00e1zar Romero<\/h1>\n<\/div>\n\n\n\n
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Gonzaga G\u00f3mez-Cort\u00e1zar Romero
<\/strong><\/strong>Gonzaga G\u00f3mez-Cort\u00e1zar Romero is an artist from Bilbao based in New York whose practice explores the transience of the environment and its connection to the passage of time. Through video, photography, installation and performance, he observes the details of the landscape as a way of honouring and reclaiming our intimate connection with the Earth.<\/p>\n\n\n\n

His work has been exhibited internationally at venues such as Istanbul Modern, MAXXI (Rome), Sala Rekalde (Bilbao), Mana Contemporary (Chicago), Collection Lambert (Avignon) and the Pedro Cano Foundation, as well as at the COP21, COP26, COP27 and COP29 climate summits.<\/p>\n\n\n\n

He is also a curator and founder of A La Luz,<\/em> a platform dedicated to art and the climate crisis, through which he organises curatorial projects such as Points of Return and the Films of Return film festival. He studied Audiovisual Communication at the University of the Basque Country and the Sorbonne Nouvelle (Paris), and in 2025 he received the Laureate of Expression award from The International Society for Performing and Visual Arts.<\/p>\n\n\n\n

Translated with DeepL.com (free version)<\/p>\n\n\n\n

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