Laida Lertxundi (Bilbao, 1981) makes films with non-actors, landscapes and sounds.

She has had solo show exhibitions at Alhóndiga Bilbao, 2014, andMarta Cervera Gallery, Madrid, 2013. . Her work has been exhibited at the 2013 LIAF Biennial, 2013 Lyon Biennial and 2012Whitney Biennial. Other venues and festivals where her work has been shown include Views from the Avant Garde, New York Film Festival, Anthology Film Archives, New York, ATA, San Francisco,Australian Center for the Moving Image, Melbourne, Baltimore Museum of Art, Berlin Documentary Forum 2 Haus Der Kulturen Der Welt, BFI London Film Festival, Centre de Cultura Contemporania de Barcelona, Courtisane Film Festival, Belgium,D21 Kunstraum Leipzig, Erarta Museum of Contemporary Art, Saint Petersburgh, Fundacion Cinemateca Argentina, Buenos Aires, Galerie Gregor Staiger Zürich, Gene Siskel Film Center, Chicago, Hong Kong Space Museum, ICA London, Images Film Festival, Toronto, Internationale Kurzfilmtage Oberhausen, Los Angeles County Museum of Art, Los Angeles Film Forum, MassArt Film Society, Boston, Migrating Forms New York, MoMA, New York, Musac: Museo de Arte Contemporáneo de Castilla y León,Musee Jeu du Paume, Paris, Museo Nacional Centro de Arte Reina Sofía, Madrid, Museum of Contemporary Art, Detroit, Museum of Fine Arts, Houston, National Gallery of Art, Washington D.C.,North West Film Forum, Seattle, Pacific Film Archives, Berkeley,Punto de Vista, Pamplona, the International Film Festival Rotterdam, San Francsico Cinematheque, Tate Modern, London,the Viennale, Austria, and the Wexner Center for the Arts, Columbus. 

She received the Grand Prize of Basque Cinema at the ZineBi International Film and Video Festival, 2007 the Tom Berman Award for Most Promising Filmmaker at the 48th Ann Arbor Film Festival, a Jury Award at the 50th Ann Arbor Film Festival, Best Short Form Work Award At Migrating Forms in 2011, the Kazuko Trust Award in 2012, and was named in CinemaScope’s “Best of the Decade” reviews and as one of the “25 Filmmakers for the 21st Century” in Film Comment’s Avant-Garde Poll. Writing on her films has been published in Frieze Magazine, Film Quarterly, CinemaScope Magazine, The Nation, Art in Americaand Artforum among others. She has been a resident of the Headlands Center for the Arts and Wexner Center for the Arts, 2013. She is a film and video programmer in the U.S. and Spain, and has published various articles on film, most recently in the anthology La Risa Oblicua and Bostezo magazine. She teaches film at the University of California San Diego and lives in Los Angeles, California.


llora cuando te pase_laida
February 17, 2014 - May 18, 2014

utskor: either/or

An artist film made in 16 mm in the Lofoten Islands, in the Norwegian Arctic Circle, consisting of audiovisual field-recordings in the form of a portrait of the Utskor region intermingled with political memoirs of the Spanish Transition and a fragment of text by de Frederick Engels The Origin of the Family, Private Property and the State. Utskor becomes a palimpsest that conceals traces of a previous historic moment and place. The editing of the fragmented, abrupt film leads to the political climate in the Basque country at the beginning of the 1980s. We immerse ourselves in a family amalgam, people (non-actors), who are intimately related but without traditionally defined family roles. We serve them in their day-to-day lives in an arrangement which falls between documentary and fiction in which the camera is present as a mechanism. The non-actors are like characters from Italian neorealism; more than acting, they observe themselves in their daily environment.

The boat-house with its cuts to other places create an impossible space of permeability between the radical presence of the landscape of Lofoten and domestic spaces, relating the natural habitat with the social habitat, with the midnight sun as the backdrop. We also hear the American deep soul music of Bobby Bland, who died this year.

There are no specialists or technicians, which differentiates this artist film from a conventional short film. The people who appear on screen are the same as those who create the film. The structure of the film crew is broken up in this way in favour of a physical relationship with the filming mechanisms, with synchronised sound recording. Based on this technical activity and on the friction between staged moments with real improvised moments, between the natural and real landscape and the external materials that come into dialogue with it, there emerges a playful atmosphere in which we create gifts such as a self-developed game and we can experience ourselves as homo-ludens specimens.