On our first visit to the Zabalarte exhibition space, we were struck by the building’s architecture, especially the wooden framework supporting the roof. Known as “carpintería de embutir” (joinery with interlocking joints), this technique has been used around the world for thousands of years, primarily to connect 90-degree angles. It consists of wooden pieces with a wedge that fits into the mouth of another wooden beam. These are then glued, nailed, or screwed together, forming a strong and basic support system. This construction method is also used with other materials, such as stone. In Basque, it is known as aho-zirika.
After the visit to Agurain and during the return trip to Bilbao, as we discussed how to approach the group show and overcome the exhibition space’s challenges, we began turning each other’s ideas and proposals into the wedge and slot of our own, and vice versa. This journey became, in a way, a space for meeting and dialogue—we had just met, and the trip itself turned into a workspace. We began verbalizing concepts, ideas, desires, and opinions about how to approach this HARRIAK exercise, this proposal from the eremuak program. In this way, and after a couple more meetings, we began to transform into wood, stone, and beam—adapting our perspectives to one another to create support and connection.
Days after the visit, this structure of wooden beams that had captivated us—not only for its simplicity and effectiveness but also for housing the neatest floor of the building—became an object of research for the artists now presenting in Agurain: Maria Cascon, Jon Ibala, and Mar Torre. Image 38. This articulated technique of fitting and interlocking represented the very process that had brought us to the exhibition space in Álava. We felt identified with it because we too were in a moment of seeking balance and mutual support. We wanted to build and shape a solid network.
The nearly 90-kilometer journey between Bilbao and Agurain became the title. We wanted the town to be present in the group show, but not necessarily in a literal way. Ultimately, the exhibition framework was built through the mouth, the voice, the place, the route taken by the three artists, and the mediation.