The small but powerfully painstaking ants of Iñurri

The small but powerfully painstaking ants of Iñurri

Text: Manuela Estel / Photos: Andoni Beristain

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Miren Cuerdo and Julene Illarramendi founded Iñurri to provide taboo-free support to women with cancer. The association quickly stood out for its feminist approach, which extends far beyond Gipuzkoa.

In their light-filled office in Usurbil, next to a colourful mural by Zumeta, Miren and Julene, co-founders of Iñurri (Basque for “ant”), look through photos of a weekend in Madrid with friends. Laughter, tapas, walks in Retiro Park… moments of simple joy. Except that this is the last weekend for Leire, 22, who is terminally ill with cancer. She smiles throughout. She passed away a few hours later in her hotel bed, surrounded by her mother and the ‘iñurris’ who had become her friends.

“If death could be beautiful, it was,” says Miren. Behind her, the association’s T-shirts display a meaningful slogan: Hil arte, bizi — Live until you die. Indeed, it is Iñurri’s mission to help sick women prioritise themselves, sweep away social dictates and live as they see fit. A feminist kick in the anthills…

How did Iñurri come about?

My mother died of cancer eight years ago. She was ill for 10 years. She refused to wear a wig, showed her tattooed breast and helped other women with cancer. When she died, I needed to do something, but I didn’t know what or how.

I started an Instagram account, and Miren contacted me. We met in a bar, Miren created a design, and we launched some T-shirts. They were an instant hit, and lots of women affected by cancer contacted us.

It is often said that a person does not die as long as they live on in our words. Iñurri is a bit like that: before, there was my mother with her ant tattoo, now there are lots of Iñurris.

How did you make a difference?

We started by listening to them, just listening. It was liberating to be listened to without that heavy compassion, to be treated like people and not like patients.

One day, one of them told us that the way we talked about the disease was feminist. We hadn’t even realised it, but it was true. Iñurri could only be feminist. That’s what makes us unique.

What inequalities do women face in healthcare?

One of the first women we supported was a 29-year-old Catalan woman. It took almost a year to diagnose her… She was told she was touching her breasts too much!

There is a real imbalance: men are always believed when they complain of pain. As for women, they always hear: “It’s stress, anxiety, hysteria!”

We quickly realised that we had to change the situation.

What happens after the diagnosis?

There is enormous aesthetic pressure. The first thing you are told is where to buy wigs, prostheses, or get micro-pigmentation. Of course, these things can be useful, but they are not enough.

Young women who are going through early menopause, which disrupts their sexuality, are left with no answers. This should be a free public service. The truth about cancer is that either you recover or you don’t. But in the meantime, you deserve to live well, don’t you?

And in their personal lives, how does cancer affect women?

A 2017 study published in the journal Cancer says that 20.8% of women with cancer end up being abandoned. Whereas when it is the man who falls ill, he can count on his wife. Women with cancer continue to take care of others, while many men shy away. It is time to stop taking care of everyone else except ourselves.

In your podcast Dragón Cáncer, Olatz Mercader recounts how, in the swimming pool showers, a little girl stared at her operated breast. Her mother told her to stop, but Olatz invited the little girl to ask her any questions she had. How does this moment reflect the importance of breaking taboos about the female body and illness?

It shows that you never see breasts that have been operated on in public! It’s great to have people like Olatz, who are empowered and comfortable with their bodies. “It’s a scar; I don’t have a breast anymore, so what?” And when people ask her, “How are you going to manage in the summer, wearing a dress?” she replies, “Why that question? Do you think the dress is going to run away?’

There is still a lot of work to be done in terms of education, not only with children, but with everyone. That’s how the idea for the calendars came about.

“When you have cancer, it’s like entering a factory: you’re placed on a conveyor belt and moved from chemotherapy to radiotherapy, treated like an object.”

How do these calendars, and your work in general, help women reclaim their bodies?

When you are told that you need to have a breast removed, the first thing you are offered is an appointment for reconstruction. And those who refuse often end up with an external prosthesis. It’s always the same logic: hide, cover up.

Many people imagine that a reconstructed breast is just like before, with a nipple and the same appearance as before. But the reality is very different. And some studies show that prostheses increase the risk of recurrence. We understand why women choose reconstruction to feel better about themselves. But what we’re criticising is that they’re not being told about all the options available to them, or about the consequences of their choices.

We empower women. Because it takes a lot of courage to say no when you are at your most vulnerable…

What do you offer that the traditional healthcare system doesn’t?

The idea was to create a network. The first point of contact is with us. Then we put women in touch with others who have had similar experiences. You understand each other better when you’ve been through the same things. We’re like a big tribe: 220 women (and one man!).

We have also just launched group therapy sessions with a psychologist. The idea is to provide support after treatment, during that period when you are supposed to be happy but feel bad: fear, your changing body… Nobody talks about it.

Why is the collective so important?

The Iñurris like to feel active: we support them, but they also support other women in return, and are making their own little revolution. They were the ones who initiated the association’s first projects!

When you have cancer, it’s like entering a factory: you’re placed on a conveyor belt and moved from chemotherapy to radiotherapy, treated like an object. With us, you’re not a number. You play an active role as a patient.

Tell us about a moment that captures the spirit of Iñurri.

During a retreat, a rather modest woman arrived wearing a thick turtleneck jumper. She always wore her external prosthesis, even though it hurt her (she had marks on her skin). On the second day, we organised a photo shoot. Everyone posed however they wanted. She posed topless, feeling liberated. At moments like that, you realise you’ve achieved something precious.

What would you say to someone who has just been diagnosed?

That we are here for them. When you find a tribe, everything becomes easier. The shit is still there, but together, it’s less shitty.

This book is an ode to the beauty of nature

This book is an ode to the beauty of nature

Text: Manuela Estel / Photos: Lur Garden
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Iñigo Segurola’s book Lur Garden looks back at the genesis of his “garden of gardens” that he has been shaping for ten years in the Oiartzun valley.

But since a garden is nothing without its gardener, the Basque landscape designer also reveals a lot about himself. It is the story of a man in search of order and beauty in the heart of a free and indomitable nature.

As a child, Iñigo Segurola was one of those children who picked flowers on every school outing. He used to say that when he grew up, he would write “books about trees”. Already passionate about plants, he tells how moved he was when, in science class, the seeds he had placed in damp cotton finally germinated.

Fifty years later, he has created a garden that is unique in the Basque Country, an “oddity” in the local landscape. Above all, he has published Lur Garden, the “book about trees” he had dreamed of.

“I always say that this garden was like adopting quintuplets: when one sleeps, the other cries, another becomes uncontrollable, and so on,” – Iñigo Segurola

Lur Garden, the 10-year genesis of a book
Lur Garden is a collection of 16 themed gardens; a “garden of gardens” spread over two hectares in the heart of a small valley in Oiartzun. Some would say it is the Garden of Eden. However, when Iñigo Segurola and his partner Juan Iriarte found this land ten years ago, it was just a meadow where a few cows grazed, bordered by the Sarobe stream.

At the head of Lur Paisajistak since 1994, the visionary landscape architects of Gipuzkoa fell in love with the place and decided to acquire it in order to experiment with their art without constraints.

As the pages turn, Segurola reveals the stages of the project. We learn that the idea of creating a succession of round, rather than straight-lined, gardens emerged from Juan Iriarte’s sketch of a fried egg. Inspired by metal rings found on the site, Iriarte sketched a garden conceived not as an extension of a building, but as islands in the middle of nature.

The photographs, by Segurola himself and by Clair Takacs, Marta Etxebarria and Unai Bellami, offer a visual journey through these contrasting spaces. We meander from the garden of mirrors, soberly organised around a stretch of water devoid of aquatic plants, to the multi-coloured and luxuriant garden of extravagance.

Segurola opens the doors to his inner garden
Lur Garden is organised in two parts: the gardener and then the garden. For Segurola, the relationship between the two is visceral. “I always say that this garden was like adopting quintuplets: when one sleeps, the other cries, another becomes uncontrollable, and so on,” he says. The first eight years of this creation were like an obsessive relationship, in which he admits to having forgotten himself to the point of “hitting rock bottom”. He compares the garden to a child forever dependent on its parent.

Only yoga and meditation freed him from this interdependence and enabled him to rebuild himself. Rather than a Creator, he then took the place of an Observer in these gardens full of plants and animals, which in the end were not so dependent on him.

You can buy the book here!

Sancheski, the first skate in Europe

SANCHESKI

Text: Naia Zubeldia / Photos: Mito
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The Basque skateboard, Sancheski, has never had any reason to be jealous of its counterparts across the pond. Thanks to an Irun family who have been able to ride the new wave of urban sliding sports.

In 1964, when surfboards were sweeping over waves off the Basque coast, another type of board landed at Biarritz airport. The “roll-surf” or “pavement surfboard” arrived from California and took up residence in the region’s urban spaces. A day without waves no longer meant a day without sliding. A minor revolution had hit the streets.

From snow to asphalt
The event did not pass unnoticed by one particular family in Irun. At the helm of the ski and sports equipment manufacturing company, Sancheski, founded in 1934, the Sanchez family was struggling to sell its products in the face of growing competition from French and Austrian brands. In 1966, the head of the family decided to diversify the company’s business activity. In addition to catering for the snowy slopes, Sancheski adapted its machinery to create boards intended for hurtling along the streets.

All that remained was to promote this new sports activity, which was only at its beginnings in Europe. The Sanchez brothers created the Sancheski Team and travelled across Spain and France to provide skateboard demonstrations at schools and any other places that were willing to welcome them.

Trailblazer in Europe
The first European brand of skateboard had been rolled out. Different models were made from the same set of materials: a solid wood deck mounted on trucks with roller skate wheels. Then came bent plywood, fibreglass and, finally, polyethylene for the “Top Naranja” model, which quickly became the yardstick model at the beginning of the 1970s. It was renamed the “El Sancheski”.

Skateboard demonstration by the Sancheski team in Madrid – 1978

“The continent’s first skatepark was constructed in Erromardie (Saint-Jean-de-Luz) in 1977.”

Surging renown
Technical improvements were soon made to the deck and the urethane wheels, rolled out in 1973, were a veritable revolution. These wheels were longer lasting and held the road better; they triggered an explosion in the skateboarding phenomenon worldwide. Indeed, enthusiasm for this sport crossed the borders of the Basque Country and spread throughout Europe. The continent’s first skatepark was constructed in Erromardie (Saint-Jean-de-Luz) in 1977. Others followed in the towns of Getxo, Gernika and many towns installed ramps in order to attract riders.

Sancheski has inspired numerous other local skateboard brands, but the company’s pioneering spirit continues with the next generation of the Sanchez family and their offering of skateboards, which are increasingly high-performance and innovative. The latest to be rolled out is the Surfskate, created in 2016 to celebrate the brand’s fiftieth anniversary. It has a more flexible truck that enables the rider to carve the streets using similar manoeuvres to surfing. The beach… on the pavement!

Orbea: from canons to bicycles

ORBEA

Text: Nahia Zubeldia / Photos: Orbea
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Founded in 1840 in Eibar, Orbea Hermanos, a company specialising in armaments, embodies the golden age of this industry in the region.

The original Orbea Hermanos emblem, which combined the initials of the company, is engraved on a multitude of weapons around the world.

A two-wheeler turn
In 1926, the company made a radical change: gun barrels became bicycle frames. Eibar, the historic heart of the gunsmith’s business, was transformed into the nerve centre of bicycle manufacturing. Orbea joined companies such as BH, which had begun this transition in 1923. The company divided its activities: Orbea y Compañia, based in Eibar, concentrated on bicycles, while Hijos de Orbea, in Vitoria/Gasteiz, continued to produce cartridges.

This period also saw the rise of cycling in the region. In 1910, Eibar organised its first race, Eibar-Elgoibar-Eibar, 25 years before the Tour of Spain was created.

A two-wheeler turn
In 1926, the company made a radical change: gun barrels became bicycle frames. Eibar, the historic heart of the gunsmith’s business, was transformed into the nerve centre of bicycle manufacturing. Orbea joined companies such as BH, which had begun this transition in 1923. The company divided its activities: Orbea y Compañia, based in Eibar, concentrated on bicycles, while Hijos de Orbea, in Vitoria/Gasteiz, continued to produce cartridges.

This period also saw the rise of cycling in the region. In 1910, Eibar organised its first race, Eibar-Elgoibar-Eibar, 25 years before the Tour of Spain was created.

“This period also saw the rise of cycling in the region.”

The cooperative, a new start
Despite its initial success, Orbea went through a crisis in the 1960s. In 1969, on the verge of bankruptcy, the company was taken over by its employees in the form of a cooperative. This new corporate model enabled the company to bounce back. In 1975, the factory moved to Malaria, reinforcing its commitment to professional cycling with its own professional team.

A brand at the cutting edge of innovation
Orbea is constantly innovating and expanding. Today, the brand offers a varied range of racing, mountain, triathlon, city and electric bikes, as well as helmets and accessories. In each discipline, it offers customisable models, like the Orca, an ultra-light road bike with integrated cabling and a frame weighing just 833g. This model perfectly embodies the balance between aesthetics and technical features.

Riding tall in the saddle
With subsidiaries all over the world (USA, France, Germany, Australia, etc.), Orbea is a key player in the bicycle industry. Still based in Mallabia, Orbea combines long-established expertise with innovation, powering the company forward to conquer new summits.

Hemendik liburua: Euskal Herriko 50 objektu ikonikoren istorioak

Loreak Mendian gabardine: the desire for great summits

Loreak Mendian gabardine: the desire for great summits

Text: Naia Zubeldia / Photos: Loreak Mendian
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In 1992, Xabi Zirikiain, who had just graduated in mechanical engineering, returned to Donostia-San Sebastián after a sabbatical year marked by an Atlantic crossing and a trip to India.

Inspired by his experiences, he began producing flocked T-shirts bearing the slogan “Loreak Mendian” (mountain flowers). In 1995, with his friend Victor Serna, he opened a small shop in the port of Donostia. Xabi designed the clothes, Victor sold them. Their offering: an urban style reflecting a closeness to nature.

Original shop at San Sebastian harbour

The brand has carved out its path
Loreak Mendian quickly became a fixture on the local fashion scene. Its floral sweatshirts attracted a young and varied clientele in both the south and north of the Basque Country. True to its values, from the outset the brand offered unisex clothing inspired by cultural and social trends. In 2011, it employed sixty people and ran twelve shops.

A stylistic shift
From 2015, Loreak Mendian abandoned its initial positioning between surfwear and streetwear for more sophisticated collections. The style became graphic and chic, while remaining true to the brand’s identity encompassing creativity, territorial roots and universality. This move towards a more mature aesthetic is embodied in the Ura (water) gabardine raincoat.

“Available in neutral or electric shades, Ura quickly became one of the brand’s flagship products”

Ura: an emblematic item
Inspired by the Basque Country’s rainy weather, this gabardine coat combines minimalist elegance with technical sophistication. Made from a waterproof British woven cotton fabric, it provides protection from the rain without the shiny finish of an oilskin. Available in neutral or electric shades, Ura quickly became one of the brand’s flagship products.

An endless horizon
Today, Loreak Mendian is making a name for itself in international markets and is turning its attention to major retailers. In 2019, the brand merged with the Ternua Group, which specialises in textiles and sports equipment, and is committed to an ecological approach. Present in 50 countries, Loreak Mendian continues to broaden its branches without ever abandoning its roots.

The Hemendik book: The History of 50 Iconic Objects from the Basque Country

“Ombuaren Itzala”, or in the shadow of Otaño, the bertsolari

“Ombuaren Itzala”, or in the shadow of Otaño, the bertsolari

Text: Christine Holmes Photos: Ombuaren hitzala
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With the support of public participation, this film has returned the cultural heritage bequeathed by Otaño to the Basque people.

“Ombuaren Itzala”, made by actor and director Patxi Biskert, aims to raise awareness of the life and work of the bertsolari (improvisational singer) and poet Pello Mari Otaño Barriola (Zizurkil 1857 – Rosario, Argentina 1910).

Although Otaño occupied a place of honour in Basque culture for a long time, this once-leading figure gradually fell into oblivion. The film, produced by Eguzki Art Zinema, aims to revive the memory of Otaño and pass his works on to younger generations.

Origins and development of the project
Patxi Biskert has been working tirelessly for many years to bring the film “Ombuaren Itzala” (in the shade of the ombú tree) to life. To finance the project, he set up a large-scale collective and participatory process, involving citizens, municipalities, cultural associations and the educational network. The project, which came about thanks to institutional support and ticket pre-sales, has been shown around the Basque Country since November 2024.

Content and plot of the film
The film is set between 1889 and 1910, Otaño’s most productive years. At that time, he emigrated with his family to Argentina, where he wrote many poems and bertsos that would make him famous among the Basque diaspora. Phytolacca dioica, commonly known as the ombú, is a remarkable tree that grows in the Argentine Pampas. It inspired Otaño to write one of his most recognised poems, which made it a symbol of nostalgia linked to exile.

“The film “Ombuaren Itzala” adds to our collective memory, by highlighting the figure of Pello Mari Otaño and his contributions to Basque culture.”

Production and distribution
The film was shot in Zizurkil and Argentina, Otaño’s two main places of residence.
It was previewed at the church of San Millan in Zizurkil on 30 November 2024, in the presence of its director Patxi Biskert, lead actor Joseba Usabiaga and other actors and operators who participated in the project.

It is currently on tour in several towns in Hegoalde, the Southern Basque Country. Although no date has yet been set for a screening in Iparralde, the Northern Basque Country. Let’s hope we will have the opportunity to see it in our cinemas soon.

Moreover, the film will not stop at the cinema doors. As a fitting return, the documentary has been designed to be shown in other community and cultural venues in the Basque Country and used in schools in the region.

The film “Ombuaren Itzala” adds to our collective memory, by highlighting the figure of Pello Mari Otaño and his contributions to Basque culture and putting them in the spotlight they deserve.

This documentary is also further proof of the strength and solidarity of the Basque community in preserving its cultural heritage. Le film « Ombuaren Itzala » vient alimenter notre mémoire collective, en repéchant la figure de Pello Mari Otaño et sa contribution [CH : contributionS ???] à la culture basque pour les mettre sous la lumière qu’elles méritent.

Otaño wrote at the end of one of his bertsos, “I am motivated by the desire to help the Basque language. The subjects available to me are modest, I have very little to say, but I will happily spend my nights, days, weeks and holidays on it. My brothers, I ask you for a small place in the Basque Country”.

Ama euskerak hau esan zidan
jarririk begi alaiak.
Horregatikan nakar honera
berari lagundu nahiak.
Gutxi nezake, oso txikiak
dira nik dauzkadan gaiak,
bainan pozkiroz egingo ditut
gauak, egun, aste, jaiak;
leku pixka bat Euskal Herrian
eskatzeizuet anaiak.

(…)
Thanks to Patxi Biskert, Eguzki Art Zinema, and the operators and citizens involved, the place of Otaño is now assured in the Basque Country so dear to his heart.