Aitor Ortiz


    • Male

    About the artist

    Aitor Ortiz has taken photographs of monumental structures, such as the Museo Guggenheim Bilbao designed by Frank O. Gehry or Norman Foster’s viaduct in Millau in the south of France. Yet his large-format images are not classic architectural photographs.

    Destructuras is a preliminary approach to the architectural phenomenon from the viewpoint of representation. Over and above the descriptive quality of photographing Architecture, what these images engage with is an analysis and deconstruction of the structure of the building, uncovering its spatial functioning and listening to its silence.


    Modular.mod (2002) took a step towards interiorising the space in the interior of the photograph. Though created with independent units, they were nonetheless combinable, or modular, like the very elements of architecture. Mounted on suspension stretchers that modified the perspective, the images laid bare the limitations and contradictions of the photographic vision and questioned the spectator’s ability to read the space. And while Modular.mod focused on the structure, Modular.rec included the building’s temporal quality. The former invited the spectator to move around the image in order to read the multiplicity of formal configurations enabled by the space, while in the latter it was the camera itself that displaced, revealing the building’s hidden life.


    Muros de luz (2004- ) connoted a shift from the representation to the construction of spaces. Sanctuaries for light were opened in an imposing rock extracted from a quarry, like forms of an artificial erosion that reveal the mind’s organising power. It questions the possibility of a non-existent architecture that straddles physical space and mental construction.

    Millau (2008- ) Unlike previous projects, here the play of dimensions and the apparent modification of scales is not produced by a mirror process but as the direct result of registering man’s action.

    Amorfosis (2008- ) These pieces give rise to a dialectics between documentarism and dramatisation, between pure register and narrativity. On one hand, the documentation of architecture that operates as a basic element for information, as a register of the constructed. Yet, on the other hand, these objective data are dramatised—in a mise en scène—by means of their spatial arrangement within the interior of the architecture of the room.


    Not so much photographs about space as photographs in the space; not so much photos on construction as photographic constructions.