This was precisely one of the extremes of the reflections of the artist Zaloa Ipiña and therefore began, among other things, the creation of pieces and installations that represented linguistic oppression. In the plastic and visual arts, bilbaíno has a fruitful trajectory and in recent years has had Euskera as a public raw material in its work both in the Basque Country and abroad.

It is clear that it performs prudent documentation during the creative process. In the exhibition "Visual Deafness", he investigated for a mistake the instruments used to reduce languages and turned them into artistic pieces. As he traveled through the window, Ipiña managed to get the pieces to pass through the viewer, after the experience, as the body left the room, but the room remained in the viewer; as he said, Ipiña opened a room to contemporary visual art of Euskera.

It has now focused on relations between languages and created from the point of view of linguistic ecology the exhibition "Mingainatu", which can be visited until last June on the city, specifically in the Edertek gallery, waiting for the locals and visitors. Zaloa Ipiña has missed interpretations of diversity, brought the world to a map and has not hung it on the wall, because there is no more conducive place to land collection, adjustment. Through the exploration of the corners of the Earth, through the cultivation of art, it seems that it wants to offer us the opportunity to step up the world to demonstrate how easy it is to provoke pain.

I'm not going to do the spoiler of the exhibition, but I think the second language project has gone a little further. Ipiña offers a great opportunity for reflection, in an intense electoral campaign. If there is nothing else, following the path of Zaloa, we can take a bloodletting further and say that the Basque (also) needs money, and a room for art.