Bernad is one of the few photographers who have tried to address the issue of the Basque conflict in all its complexity. In his extensive work, which covers a vast collection made over decades, he shows victims of ETA, protagonists of street violence, prisoners’ relatives and funerals of ETA militants killed “in combat”, using a variety of angles and shots that are not often used by conventional photographers. In Getxo, we are showing the last chapter of this extensive series, featuring the defunct Basque newspaper Egin. In 1998, Judge Baltasar Garzón ordered the precautionary closure of the paper and the arrest of several of its editorial staff, although in 2009 the Supreme Court overturned this decision. This unpublished essay looks at the fall of ETA and the end of the Basque conflict through the metaphor of the decline of an abandoned, looted industrial warehouse. This journalistic heritage in decay interacts with the exhibition space, where Spanish-supporting daubs mix with graffiti siding with the Basque nationalist discourse. These contemporary cave paintings, which reflect the history of twentieth-century Spain, enhance the feeling of desolation transmitted by Bernad’s images.
Clemente Bernad was Born in Pamplona / Iruñea in 1963, Clemente has a degree in Fine Arts from the University of Barcelona and a DEA in Sociology from the Public University of Navarra. He is a photographer and documentary filmmaker since 1986, he has a strong interest in social and political issues within his closest cultural environment. Among his works, special mention should be given to Jornaleros, Mujeres sin tierra, Pobres de nosotros, Canopus; the book and the documentary film El sueño de Malika, Basque chronicles, on the political conflict in Euskal Herria and Donde habita el recuerdo on the exhumation of graves of the Spanish Civil War. He currently works on the actual socio-political situation and develops his activity as an independent professional, in a broad sense of the term.