BETA: Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Fifth take-off

'Uhin' aldizkariaren aurkezpena | NOIZ: apirilaren 15ean | NON:  Bilboko Espora Espazioan. / Argazkia: Iñigo Basaguren-Duarte
'Uhin' aldizkariaren aurkezpena | NOIZ: apirilaren 15ean | NON: Bilboko Espora Espazioan. / Argazkia: Iñigo Basaguren-Duarte

Uhin magazine was created by two people who liked to talk about music, to take the paper. Well, the journal has just published its fifth issue and presented it in the Espacio Espora de Bilbao. Thus, it should be in a singular space that allows for marginal proposals. The creators, Antton Iturbe and Yeray Portillo, look like a spacecraft that separates itself from the ground, as a space that is increasingly remote from the music industry.

For this fifth issue we collect a beautiful harvest and among the contents we will find many interesting things, such as in-depth interviews, in-depth reflections and encyclopedic synthesis on a specific topic. Mikel Vega interview improviser musician Alex Reviirrigation and Antton Iturbe, creator of the Discret Music label. Besides the texts, you can also enjoy the images of Eider Iturriaga and Sandra Cuesta. The two photographers have helped with beautiful texts the shot by their eyes. Enrique Hurtado analyzes in his text the state of paralysis of the music world and its manifestations, reflecting on whether music has lost its capacity to be surprised in times of revival and nostalgia. Carlos G. de Marcos discusses in his text the techniques of literary cut-up and musical sanpling.

Another of the texts published in the magazine is the artist Mark Leckey. Taking this as an excuse, and in order to offer viewers a delicious picoteo, the organizers offered the video Fiorucci made me hardcore (Mark Leckey, 1999), a milestone in Leckey's trajectory. In this 15-minute piece, the English artist laid the foundation of his career. Thus, using archival images, he seeks to tell his personal biography and the history of the English working class, combining the personal and the collective, the micro and the macro. Music for dance at work wants to assert the importance it has had in its life and in that of young people, showing how the working class has proclaimed itself through dance and exorcised its evils, from the Northern Soul of the 1970s to the rave music of the 1990s.

Video and explanations broke the path of debate in the Spore Space. People enjoyed and reflected on what they saw and enthusiastically shared their ideas. He highlighted the idea of the strength of music and the images of creating stories. In this sense, the importance of publications such as Uhin, and all those around us, as speakers of those moving on the paths of culture, was claimed.


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