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Many artists use written or oral language - usually dominant or hegemonic languages - to create this language, which we call art. But how often is language itself the subject of study in the visual arts? The Northern Irish philologist David Crystal tells a revealing anecdote in his book Hizkuntzen Iraultza, as since the 1980s he has tried to find artists who deal with the subject of endangered languages in his field, but has not found a single one. He adds that he has been to exhibitions that dealt entirely with the conservation of animals and plants, and yet he has never seen a single one on the conservation of languages. The current situation in which each language finds itself is a reflection of everything it has suffered throughout its life. Unfortunately, it is not possible to understand the history and situation of our language without taking into account the role that the dominant languages have played in the construction of its linguistic reality. Cultural genocide, school ring, visual deafness, domination, linguistic prejudices... There are many terms, themes and stories that come to mind when I try to find reasons for the current situation of minority languages; and it is precisely these causes and experiences that I have worked on this project. Because it is still impossible to spend one's whole life in Basque and because of the inconvenience of using this language in the visual arts, Gorreri bisuala (Visual Deafness) tries to create more visual readings of the historical causes that have led to Basque being in the current situation of minority status, as well as some social or sociolinguistic aspects that can lead a language to its death. For this purpose, I have had as study material works from different philologists, linguists, sociologists, historians or artists such as: Juan Carlos Moreno Cabrera, Marleen Haboud, Xabier Irujo, Joan Mari Torrealdai, Pako Aristi, Xosé-Henrique Costas, David Crystal or Alfonso Rodriguez Castelao among others.