Tine Guns
Zubieta
2023/2025
€265,00
Offset print on 115gr Blueback paper
59,4 x 84,1 cm
Edition of 15 copies, signed & numbered by the artist
In stock
about this work
Zubieta comes from Tine Guns’s films To Each His Own Mask, which delves into themes of visibility, protest, and the tension between individual and collective identities. Composed of found and self-recorded footage, the film explores the use of masks in public uprisings — to broader questions of identity, safety, and transformation. The mask becomes both a shield and a symbol, allowing for a form of resistance while obscuring individual identity. Guns juxtaposes these images with intimate, poetic scenes that shift between the personal and the political, offering a meditation on the power of collective action and the ambiguity of appearances.
Zubieta shows a still from this film: a close-up of a child’s face wearing a balaclava. The image crystallizes a moment of ambiguity and resistance. The child looks straight into the lens with a gaze that is both vulnerable and resolute.
All PLAKT editions can be presented in Valérian Goalec’ Act 24.3. This work functions as a stand-alone wall sculpture, but also as a support for the print editions in this series. Act 24.3 comes with four strong magnets to mount and easily change prints.
about Tine Guns
Tine Guns uses media such as photography, film, and photo-books to explore perception, memory, and the fragmented notion of time in the human experience. Her work resists straightforward narratives, often unfolding as visual essays or atmospheric sequences that evoke more than they explain. She challenges the linearity of cinematic structure, weaving fragmentary visual narratives and perceptual experiments that bring viewers into a state of in-betweenness — between fact and fiction, stillness and movement, presence and absence.
Trained as a graphic designer, Guns brings a meticulous sensitivity to image, rhythm, and form. This background is especially evident in her photobooks, where she treats the turning of a page much like the cut in a film — with careful attention to pacing, composition, and silence. In both film and photography, she uses editing not only as a technical tool but as a conceptual gesture, layering visuals to explore how meaning forms and dissolves over time.
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