Paisajismo¹

Paisajismo¹ is an aesthetic essay that gathers works by international artists who live or have been in transit through Mexico City. The central idea is based on the relationships these contemporary artists establish with nature and the possibility to modify it in a visible, physical and emotional way, in accordance to the first definition that appears when this term is searched in the Internet. The simplicity of this quote toys with the visual density of these works that cross paths being extensive experimentations in different means, as painting, graphics, photography and video.

Therefore, Cecilia Ramírez-Corzo, who has resided for the last three years between Asia (Japan, Malasya, South Korea), Los Angeles, and Mexico, links photograph layers, sometimes manipulated by a handmade collage, but with geometrical accuracy, just as can be seen in the series Stardust; and others with effects by digital transparency, poetic stories with different images taken from the different environments in which she lived.

The French artists, Dear [Delphine Passot and Arnaud Zein-el-Din], who live in Mexico since 2007, work in the same approach but with a more constructivist intention. Their images propose a conceptual reflection towards urbanism and the possibilities to link or interpret the relationship between man and the physical structures he is capable of creating, as seen in Cultur act in the nature.  Guido Yannito works through inter-textual quotes of recent history of art, explaining through very simple operations, with photographs and documented actions, the interpolation of the human being in the least expected environments, as Antarctica, where he accomplished an artistic residence, where two of the works presented in this exhibition come from, Glaciar negro and Avistaje. Rafael Uriegas presents a new series of medium size paintings, Selva, forming dreamlike scenes, built from a sequence of coats that go through the fabrics with organic and geometric structures, among which undefined characters or ghosts appear.  These narratives get continuance in his recent series of stamps, El fantasma del Colibrí, where several feminine characters relate, in a more open dialogue, with scenes of orchids and hummingbirds collected by a 19^th century naturalist. Finally, Simone Pazzini, Brazilian artist currently living in Mexico and attending postgraduate studies, proposes a romantic Utopía, which transforms a daily life object in the central element of several domestic scenes.

Thus, works are presented as areas to intervene landscape, as a necessity that links with the romantic search to tighten bonds with nature. So to say, landscape understood as one of the funding visual languages of the Western modern thought and to reaffirm action of mankind in its environment.