Landscape, nature and artifice

Landscape as a genre emerges from the desire to refuge the sight in spaces away from culture. This group of works updates that concept.

Ningún paisaje escapa de terminar en un calendario [No landscape escapes from ending up in a calendar] (2021) by Nana SchlezFundación Itaú Argentina

What relation do we have with landscape when our existence is more artificial than natural?
Nana Schlez juxtaposes road signals and tropical foliage on a clear sky.

Through a lenticular printing system, perceptible in the physical presence of this work, landscape becomes dynamic.

Digital records that go from the urban space to jungle.  

La fuente de todos los deseos [The source of all desires] (2019) by Gonzalo MacielFundación Itaú Argentina

In the case of Gonzalo Maciel, the Sun, a deified entity since ancient times and the origin of every form of life, is represented as a luminous object.  Issuing a concentric shape light, bathing its surroundings with warm colors, this artificial sun irradiates an energy of optic and hypnotizing qualities.

Semióticas del tiempo [Semiotics of time] (2022) by Patricia VielFundación Itaú Argentina

In this installation, Patricia Viel   registers the actions that she makes in the Patagonian desert.

In this case, the virgin and desolated landscape becomes the setting from the launching of flares.

Through this impressive contrast, it is possible to clearly perceive the effect that each gesture has in our environment.

The following works refer, through the documentary record or fiction, the state of emergency of our planet.

The Man Who Sold The World.Fundación Itaú Argentina

In The Man who sold the world, a satellite photograph that registers the presence of fire in the wetlands of Entre Ríos and Rosario is transferred to a tapestry.

Inés Martino, born in Santa Fe, turns the reality that restlessly threatens essential ecosystems for the wellbeing of our planet into a tactile experience.

It’s not clouds, it’s smoke [No son nubes es humo]Fundación Itaú Argentina

Through a careful pencil work, Sebastián Bona represents scenes where game and innocence are interrupted by violent explosions.

Certain distance of gestures and costumes contrapose with the contemporary feeling that these catastrophes provoke.

A dystopia both real and fictional.

The landscape is soil, the territory where the history is written.

Sudario de la pampa argentina [Argentine Pampa’s shroud]Fundación Itaú Argentina

On a White canvas, Mercedes Resch placed fragments of tools found in the pampas soil.

With the passing of time, the dirt and the rust left their print on this Argentine Pampa’s shroud.

The tools reveal as culture devices.

A work that becomes memory of works and desires.

Gauchx (2020) by Claudio OjedaFundación Itaú Argentina

The Gaucho is part of an identity built in a territory.

To its folkloric and heteronormative stereotype, Claudio Ojeda contraposes a queer gaucho, with a naked torso and wearing makeup.

The photographic image and its versatility as an operation to subvert the cliché.

Ifwala lha ́l (sun glare) (2020) by Claudia AlarcónFundación Itaú Argentina

In wichi culture, nature is geometrized giving place to a variety of patterns: one of them is the armadillo’s ear. In Sun glare Claudia Alarcón incorporates this design to her weaving made with chaguar fibers.

Crafts from old traditions irrupt in the present art scene and allow us to rethink the place of handcraft in a world that gets more and more mechanical and global.

Stones [Piedras]Fundación Itaú Argentina

Karin Godnic’s watercolors have the silence and honesty of that which, away from its habitat, reveals perfection and mystery.

With careful details, the stones show their aesthetic historicity.

Parapaisaje [Paralandscape] (2019) by Federico Andrés PorfiriFundación Itaú Argentina

If a landscape is the result of the relationship between an active subject that watches and an apprehended environment, Federico Profiri inverts this relationship.

In Para-landscape the landscape watches, threatened by our pretension of omniscience and opening a portal to the little that is left unknown.

Lo que el viento dice, le soplaron los árboles [What the wind says was blown by the trees] (2021) by Silvia Martín del CampoFundación Itaú Argentina

Intervened with careful folds and stitches, the photographs by Silvia Martín del Campo evoke multiple feelings.

From contemplation to creation, nature as a facilitator of intimate rituals.

Credits: Story


Fundación Itaú Argentina
José Pagés
Clarice Bentolila
Anabella Ciana
Alejandra Saldías
Nancy Chappe
Mariana Coluccio
Melina Cools
Mariano Pastore 

Premio Itaú 13 edición en Google Arts & Culture:
Curaduría: María Menegazzo Cané
Coordinación: Celina Marco
Asistencia en textos: Magdalena Mosquera
Asistencia en producción: Cecilia Vecchi
Traducciones: Valentina Bonelli

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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