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3.  Chillida, the Conquistador.  The Basque sculptor's destructive project on
Tindaya
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By Mila Parot Zubimendi. November 20, 1998

 "And I, in the dark, very relaxed, thought: Those who are removing the stone
do not realize they are filling it with space; then let them continue removing
the stone and I will keep the space to offer it to man ... So much fuss when I
only want to create something for man, a great space where we would feel
smaller than what we think we are, and more tolerant to one another, a place
of tolerance; marvelous. The ecologists who oppose it have not seen the
project..." (1)

This is the contemporary Basque sculptor Eduardo Chillida speaking about his
latest project to build a gigantic cube inside the Tindaya mountain--a Nature
Reserve and Natural Monument in Spain's Canary Islands--, as a tribute to the
Spanish poet Jorge Guillen. The Canary government' tourist megaproject on
Tindaya, including Chillida's cube and a public park, has met strong
opposition from local ecologists, archeologists, and grassroots groups
determined to defend their environment, cultural values, and archeological
sites.

Eduardo Chillida was born in 1924, in the city of Donostia, Gipuzkoa, in
Spain's Basque region of Bascongadas. He's the youngest of three children born
to Carmen Jauregui and Pedro Chillida, a military officer under Franco.  As a
teenager, Chillida was a goalkeeper in a local soccer team but a knee injury
forced him to quit. He then went on to study architecture in Madrid in 1943,
and painting and sculpture in Paris in 1948. In 1951 he returned to Donostia,
where he continues to live and work. Chillida began to consolidate his work in
the early 1960s after he represented Spain at the 1958 Venice Biennale and won
the International Grand Prize for Sculpture. He has received international
commissions and awards for his public sculptures for more than 40 years, and
his network  of patrons and buyers includes the local administration of
Bascongadas.

Chillida's work is gestural and seems to have drawn inspiration from the 16th
Century geometrical consoles that decorated Gipuzkoan houses. He began working
in clay in the early years in France, and in steel when he  returned to Spain.
Chillida has produced both small and large-scale works, including site-
specific sculptures in public and private venues.

Though he is recognized internationally as one of the major figures in Spanish
art, Chillida has left little or no impression on young Basque sculptors, who
acknowledge their indebtedness to a particular tradition that places a square
emphasis on the functions that create meaning. Chillida's work still seems
excessively engaged with the "sacred" nature of individual languages, whereas
young Basque sculptors are often concerned with systems of knowledge more than
with subjective expression. They ask for a "consuming" clarity, seek to reveal
process, and  show how things work. They recognize the Basque sculptor Jorge
Oteiza as a formative influence but it is,  significantly, more the attitude
of the artist than the work itself that interests them. Oteiza is arguably the
most  influential Basque artist (known for his metal cubes whose theme is the
creation of an active void at the center),  and a curious figure who gave up
sculpture in the Sixties, arguing that he had concluded a particular period in
his life and a particular way of saying things, and took to writing.

Important artists often don't achieve the goals they set for themselves, but
they achieve something else, which they may not appreciate. Chillida may be
one of them. He has integrated sculptural forms with architectural space to
produce public parks that interact with both the public and the space, such as
The Fueros Square (Gasteiz,  1980) and the Wind Combs (Donostia, 1977).

But his writers have dutifully followed Chillida's erratic lead with links to
Bachelard, Heidegger, Guillen, and whatever can be used to prop up the
artist's messianic desire that his slabs of steel be regarded as symbols of
poetic expressions of a spiritual dimension.


These days, and after more than a decade doing variations on pretty much the
same thing, Chillida wants "to open a place of tolerance for all equal men" in
Tindaya and just like the ancient Basque conquistadores who joined or led
Spanish expeditions in the American mainland, he thinks it is within his duty
to do whatever he wants because he "discovered" the (right) mountain for his
cube. But Tindaya, with its lunar landscape, rupestrian engravings, and
connection to the mysterious rites of the aboriginal people of the island, has
the religious dimension that the art of the kind Chillida produces cannot,
despite the incantation of his admirers, sustain what the artist has hoped
for.

Do I sound down on Chillida? I am not, but his project on Tindaya begs for
immediate attention and review. The entire project attacks those very things
that Basques have long supported, the link between our culture and our
homeland.

Chillida's project on Tindaya  --   Spain's Canary Islands are an archipelago
of several islands in the Atlantic Ocean, off the northwestern coast of
Africa. The islands were recognized as Spanish possessions in 1479. Spanish
conquest of the islands was completed by the late 1490s. The indigenous
population, the Guanche, a Berber people, eventually became extinct. Farming
and fishing are the principal industries. The volcanic soil of the Canaries is
extremely fertile,  however, the islands have no rivers and severe droughts
are common. Tourism is also important, and the islands are a popular winter-
resort area.

The Tindaya mountain is located in the Canaries' Fuerteventura island, also
known as "The Peaceful Island."   Fuerteventura is a volcano made of fissure
vents Fuerteventura has erupted in the last 10,000 years. It has an area of
356,13 sq km and a population of 7,950 (1991). The island has six nature
reserves, including Tindaya,  and three national parks. Fuerteventura is
recognized nationally and internationally for its endemic wild flora from the
first period of the Cenozoic Era. Within a small geographical area a
tremendous span of earth history is  represented by plant species now extinct
in many parts of the world.

"When I saw it, I had no doubt. And then I heard about the footprints, that
they cannot be damaged. Imagine... I went up and found those footprints left
by the guanches and it turned out that they are identical to my signature,
but with a few more fingers. Strange, no? They were totally unprotected,
anyone could destroy them: one footprint, and next to it a heart, `Marichu
loves Joaquin'" (1) -- Chillida said about his first encounter with Tindaya.

One hopes always to see something new in art, at least a new way of seeing
something old; one is usually disappointed. Chillida's project on Tindaya is
not about new forms.  The project is a large-scale reproduction of an
alabaster sculpture Chillida made more than 10 years ago. Yet it is new in the
sense that, if built, Chillida's project will be one  of the most
environmentally and culturally destructive schemes in the name of art and that
world leave a monumental scar. It would alter the structure of a sacred
monument by extracting its non-renewable natural resources; endanger the
archeological sensitivity of the mountain, which holds significant
archeaological remains; disturb a habitat for protected wildlife; wreck the
peaceful atmosphere in and around the mountain; and destroy the unique setting
of the history.

Chillida's project requires the removal of 150,000 cubic meters of the
porphyry (traquita) rock from the mid-high point of Tindaya, to build a tunnel
80 meters long that will join a 50 x 50 x 50 meters cube with two skylights
like huge chimneys, each 25 meters long, to allow the natural light penetrate
the cube. This obviously will require the torn off of the top of the mountain.

Porphyry is a volcanic rock that was used by the Romans to build their
highways, and has for many years been an important paving material in Europe.
Lately porphyry is becoming a popular architectural stone with town planners
and architects for construction projects worldwide. Once converted into stone,
the porphyry extracted from Tindaya would reach a cost of approximately 40,000
million pesetas. The government estimated the total cost of the Tindaya
project, including construction works in and around the mountain, at 5,000
million but has not explain what intends to do with the remaining 35,000
million.

Since 1984 social movements for the defense of Tindaya have been denouncing
the extraction of porphyry. Agoname, La Vinca, ELTEA, ATAN,  and the ecologist
federation Ben Magec have been particularly active in the  struggle against
the plundering of Tindaya. Most recently Greenpeace, GFN
and BUND of Germany, CODA, the SEO/BIRD LIFE, WWF-ADENA, AEDENAT, the
Associacion para la Defensa del Patrimonio Canario, the Institutum Canarium of
Austria, most ecologist organizations in Catalunya, and 11 ecologist
organizations in Euskal Herria, have either issued  statements of concern or
joined in the defense of Tindaya. But local authorities claim that Chillida's
project is "the only solution to protect the Tindaya mountain" from further
extraction because it would destroy what's left of the mountain!

The natural value of the Tindaya mountain (408 meters above sea level) lies in
the geomorphologic structure: it is one of the few remaining porphyry domes in
the archipelago thus, its scientific value in the geology of the Canary
Islands. Spain's Instituto Tecnologico Geominero designated Tindaya a site of
geological interest and  recommended that "special measures" be taken for its
protection.

The Law of Natural Spaces of the Canaries (LENAC) of 1994 designated the
Tindaya mountain a Natural Monument and is thus considered an area of
ecological sensitivity and subject to the provisions of the law for the
prevention of ecological impact (Prevencion de Impacto Ecologico) of 1990 and
related laws and regulations.  Article 27 of LENAC prohibits the alteration of
the natural conditions of the protected space and its resources.   The
execution of Chillida's project which would empty part of the mountain,
modifies the natural conditions, and  depletes a non-renewable resource such
as porphyry.

In addition to the geological and scientific resources, Tindaya possesses
archeological, wild flora and fauna and historic resources, as well as
beautiful scenery which contribute to the quality of the area.

Tindaya, also known as the Sacred Mountain, is the only mountain in the Canary
archipelago where engravings of footprints have been found. It contains more
than 250 rupestrian engravings located at the mid-high point, and a
significant number of funerary constructions. It has four archeological sites
at the base where remains belonging to the aboriginal, pre-hispanic culture of
the Majos have been found, including several containers decorated with incised
lunar cycles.

Spain's law of historic patrimony (LPHE) of 1985 confered the engravings the
category of a resource of cultural interest (Bien de Interes Cultural), a
statutory protection that should also be given to the other archeological and
ethnographic values of the mountain.

 The same land form which is famous for the striking chromatism and morphology
has an endemic flora  (Caralluma buchardii) with statutory protection
(Proteccion de Especies de la Flora Vascular Silvestre) of 1991.  The
Caralluma buchardii is "strictly protected" by the Council of Europe's
European Treaty of 1979 of the Conservation of Wildlife and Natural Habitats.
In addition, the Canaries' territorial plan (Plan de Ordenacion del
Territorio) designated the Tindaya mountain an area of ornithologic and
botanic interest.

Tindaya encompasses a number of historic resources. The mountain was the place
where the Majos performed their magic rites. The most visible historic
resources are the engraved footprints facing the four cardinal points, the
remains of ancient buildings and caves, as well as the many objects of worship
that have been found in the areas surrounding Tindaya, all of which is of
inestimable historic value to the citizens of Fuerteventura.

No environmental and archeological impact assessment of Chillida's project was
ever carried out on the Tindaya, despite the conclusion of the Commission
created by the Cabildo of Fuerteventura that the extraction of porphyry is not
compatible with the preservation of the mountain's natural and cultural
values. Neither has the government provided details on the claimed "socio-
economic benefits" of the project. This is the same government that paid a
huge amount of money for the acquisition rights on quarry extraction, and
prevented a parliamentary investigation for alleged corruption in the deal.
Moreover, the decision to commission Chillida was not democratic or properly
informed. Local people in Tindaya never have been given the choice as to
whether to have a cube built inside their sacred mountain.

Damage to Tindaya will result from outright destruction of the mountain's
natural resources while noise and air pollution from boulder movement,
excavation and extraction would affect songbirds and delicate vegetation, and
endanger the archeological sensitivity of the site.

Opposition to the government's tourist megaproject on Tindaya is led by the
Coordinadora Tindaya, which has led an exemplary struggle to defend the
preservation of Tindaya for the benefit, use, education, and inspiration of
present and future generations.

Perhaps the graffitti that Chillida found next to a footprint when he first
encountered Tindaya is a reminder to the sculptor that he too can be
instrumental in helping the citizens of Fuerteventura keep the integrity of
their mountain and its resources as part of their sense of national identity,
valuable both for their own sake and for their role in education as well as
leisure.

Pictures: <www.freespeech.org/ehj/html/tindaya.html> 1. Aerial view of The
Fueros Square, courtesy of Sculpture Magazine; 2. Sketch of Chillida's
extraction project on Tindaya, courtesy of Revista Canaria de Arqueologia y
Etnografia; 3. Architectural use of porphyry stone, courtesy of London
Universal; 4. Aerial view of the Tindaya mountain, courtesy of the Cabildo de
Fuerteventura.

(1) La Revista (El Mundo) No. 94. Interview with Eduardo Chillida. (Spanish)

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4.  News Briefs
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DISPERSION--France's Secretary of State for Women Rights, Nicole Pery, signed
a petition demanding the transfer of the 74 Basque political prisoners held in
Paris to jails in Euskal Herria north in France. More than 20,000 people have
signed the petition.

GROUP BANNED--Spain's National Court last Friday ruled that the political
group K.A.S. is part of the ETA structure and thus illegal. Judge Baltasar
Garzon indicted 26 people for alleged membership or collaboration with ETA.
He granted bail (totalling 700 million pesetas) to 13 of the 26 people
indicted. One of them, the former president of the Basque daily Egin, Javier
Salutregi, was released on bail of 25 million pesetas. All 26 defendants are
linked to the companies allegedly connected to ETA's "financial network."

REFUGEE ARRESTED--ETA member asked for political asylum in Holland. Maite
Gabriel, 41, was arrested in Amsterdan on Saturday when trying to enter the
country with a false passport. She said to be a member of ETA and asked for
political asylum. Spain said it will not request her extradition.

RALLY AGAINST DISPERSION--The associations of relatives and friend of the
Basque political prisoners, Senideak and Gureak called for a rally in Bilbo
(Bizkaia) on November 28 to demand the immediate transfer of the prisoners to
jails near their homes. Vigils will also take place on the 31 of december in
all seven Basque provinces.

GROUP FOR NAVARRESE STATE--A group headed by Blas Beaumont said Pierre Desire
La Motte-Messeme, Duke of Loudun, is the heir to the Navarrese throne. The
group says it will make its official presentation soon to announce its support
for Desire La Motte, a Basque parliamentary monarchy, and the Basque language
as the official language of Euskal Herria. (Egunkaria)

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4.  Announcements
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CPEH ACTIVITIES IN NOVEMBER: Vigil against dispersion in front of the French
consulate (Nov 2, 25).  Lecture and slide show on self-determination (Nov 15).
Collection of medicines, clothing and food for victims of huracaine Mitch (Nov
18).   Dinner and concert for Basque delegation visiting NY (Nov 23).

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often ignored by the international media, and promote self-determination for
the Basque people and the necessity to end the crisis through political
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On Saturday, July 18, 1997 (the 61st anniversary of fascist Gen. Franco's coup
d'etat against the democratically elected government of the Spanish Second
Republic). the Institute for Global Communications (IGC) suspended the EHJ
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Here are the mirror sites:
http://www.freespeech.org/~ehj (updated)
http://osis.ucsd.edu/~ehj
http://www.contrast.org/mirrors/ehj/

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language) and ways to help promote self-determination and other human rights.
The EHJ webpage has documented information about the culture, history and
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