By Davide Deriu, Krystallia Kamvasinou, Eugenie Shinkle
Drawing at the synergies among the fields of structure and images, this assortment takes a multidisciplinary technique, combining practice-based examine with scholarly essays. It explores and severely reassesses the interface among illustration - the imaginary and symbolic shaping of the human atmosphere - and construction - the actual and fabric alterations wrought at the land. At a time of environmental concern and the 'end of nature, 'shifting geopolitical barriers and monetary downturn, rising Landscapes displays at the country of panorama and its destiny, mapping these practices that creatively deal with the bounds among hazard, chance and motion in imagining and shaping panorama.
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Extra info for Emerging Landscapes: Between Production and Representation
13 While the exhibition is commonly understood as part of a wider discursive field shaping an emerging environmental consciousness,14 it can also be seen in the context of the transition into a risk society. The themes it explored signalled a growing preoccupation with the potentially devastating effects of capital accumulation on the land. ’16 These were precisely the landscapes that so fascinated the New Topographics photographers – a fascination that is perhaps most clearly expressed in the work of Lewis Baltz and Robert Adams.
In other words, I’m referring to a vision of urban space that once would have been defined, a bit rhetorically perhaps, as democratic. I cultivate the illusion and hope that a disposition to observe and accept the contemporary condition of our cities might be a good starting point to imagine a better city – and a better future. In my obsessive observatory, which I built to seek a dialogue with space, I regard the city as a living thing, a breathing organism, a great body undergoing a process of transformation.
I’d been doing a great deal of geological light and space work over the Mojave and Great Basin deserts and wanted to extend the investigation to the built environment. ” An exact opposite, for example, of the black space vacuum skies that so dominate Full Moon. and place, particularly as expressed in the iconography and mythology of its Western regions. The archival works Full Moon (1999) and 100 Suns (2003) allowed me to travel backwards in time and to photographically explore places— landscapes—otherwise inaccessible to me as an artist.