san-sebastian,-spain

View of “Elena Asins,” 2012. Foreground: Menhir I-XL, 1995. Wall: La rotación del menhir (Menhir Rotation), 1999.

Elena Asins

Koldo Mitxelena Kulturunea

View of “Elena Asins,” 2012. Foreground: Menhir I-XL, 1995. Wall: La rotación del menhir (Menhir Rotation), 1999.

Elena Asins first began exhibiting her work in 1960 at the age of twenty. Yet despite her long-standing presence in the Spanish art world, she can still be considered an outsider in the sense that she has tended to ignore the prominent trends of her time. In the 1960s, when a murky informalism and Pop-inflected figurative painting quarreled for supremacy in postwar Spanish art, she and a few others turned toward a constructivist method that found its roots in the work of artists such as Jorge Oteiza and Pablo Palazuelo. But Asins soon ventured even farther outside the mainstream with visual poetry and informational art and by employing the computing strategies she studied at the Centro de Cálculo of Madrid’s Universidad Complutense and other universities.

Over the past decade or so, Asins has kept a very low profile, returning to the public arena only last year, when the Museo

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