EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE

Nicolás Franco, MHN 1819, 2017. Pigment ink, modified acrylic resins and acrylic paint on linen, 260 x 390 cm. Galeria Isabel Aninat
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Nicolás Franco, MHN 1819, 2017. Pigment ink, modified acrylic resins and acrylic paint on linen, 260 x 390 cm. Galeria Isabel Aninat
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
It represents the earthquakes Chile. Jorge Tacla is interested in the socio-economic component implicit in these works: the one with the least magnitude (Haiti, 7.0) has been the one that has caused the most destruction, due to the structural precariousness of the country. These 3 works have been shown together at the National Gallery in Dublin, during the Dublin Biennale. 8.8 describes Chile after the earthquake and its subsequent tsunami in 2010. This earthquake has affected Tacla directly, since his study in Santiago has been completely destroyed. 8.9 refers to the 2011 Japan earthquake and tsunami. It is part of a collection.

Jorge Tacla, 8.8, 2011. Oil and marble powder on canvas, 254 x 254 cm. Galería Sabrina Amrani

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
In "Hilvanar", Dittborn incorporates parallel diagonal lines on the right side of the work, he has referred to these pictorial marks as “palotes” (in English, “pre-writing strokes”)—the repeated lines that children draw as a first step toward leaning how to write. Pre-writing strokes are defined by repetition; one stroke never stands alone but is surrounded by many iterations of itself. As the term’s suffix in Spanish –ote indicates, they imply an augmentative value. But while they repeat the same shape over and over again, they vary in their repetition. Of similar angle and size, they are, nonetheless, imperfect reiterations of each other. Repetition, incrementality, and variation have been at the heart of Dittborn’s practice. The figure of a hanged man on the left panel of the work is an image that Eugenio Dittborn has returned to time and again. It corresponds to an engraving by Mexican political printmaker José Guadalupe Posada, titled El ahorcado Revolucionario ahorcado por los hacendados (The Hanged Man – Revolutionary Hanged by the Landowners), made c. 1910. As Dittborn notes, his reuse of the hanged man “can be understood as a comment in expansion: the recycling of a fragile trace.”1 Similar to the frail traces of a child’s marks, Dittborn’s recycled images are subject to mutation with every repetition. Inserted within different referential fields, the visual quotations renew the multiple associations that they generate. 1. Eugenio Dittborn in conversation with Sean Cubitt in “An Airmail Interview,” in MAPA: The Airmail Paintings of Eugenio Dittborn, 1984–1992 (London: Institute of Contemporary Art; Rotterdam: Witte de With, 1992), p. 22.

Eugenio Dittborn, Hilvanar Airmail Painting No. 189, 2017. Dye, acrylic, stitching and photosilkscreen on 2 sections of Loneta Duck fabric, 210 x 210 cm. Alexander and Bonin Gallery

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
"BARSOM I" is a hand paper woven tapestry piece of 1,50 X 1,80 created from hundreds of selected cutted pieces from vintage archeaological documentation on gold pieces from Persian & Assur empires.

Catalina Swinburn, Barsom I, 2021. Woven paper from vintage archeaological documentation on gold pieces from Persian & Assur empires, 180 cm x 150 cm x 10 cm. In artist ́s plexiglas box. Galeria Isabel Aninat

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
This painting is part of a series of artworks based on landscapes, in which a previous event is implied.

Natalia Babarovic, Ford Falcon, 2019. FORD FALCON, 2019. Oil on canvas, 180 x 250 X 5 cm

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
The Andes Mountains in Prats' work are a reference to his persistent recalling of territories of origin and the energy immersed in their extreme nature. On one hand, he uses the unprecedented exploit of the French aviator Adrienne Bolland who, in 1921, crossed this mountain range for the first time. Bolland challenged, in a subversive act, all predictions. On the other, Prats uses drawings of the peaks from the Atlas de la República de Chile 1875 by geologist A. Pissis. In this way, the work refers to a poetic dialogue that is generated in the artist's imagination. He reattributes significance to both explorations of the territory within the folds that obsessively captivate our gaze.

Fernando Prats, La ruta de Adrienne Bolland 1, 2021. Photograph, 160 x 145 cm. Edition of 3 + 2AP. Galería Joan Prats

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
In the blue of dawn that blends with the blue of sunset in another part of the world, there is always a boat floating in the distance. A boat is the promise of departure, of adventure, of navigation, of a new horizon or a return from where we are, of floating, of flying, of dreaming, of looking, of thinking of the beyond, of overcoming the walls of the stormy waves, of watching the sunset, of fighting against what seems impossible, of protecting oneself from storms. "Barco" is looking for a direction in the world, but it is also anchored in a place, a place that makes us travel, that the journey is not physical, but also mental, a place of encounter with ourselves, that's why this boat was born from a handmade drawing, a simple line, but is thought like that, because the complexity is in what this boat carries of us the spectators. "Barco" is a ship without a sail, waiting in the harbor to sail away. This sail is us... the viewers.

Enrique Ramírez, Barco, segundo acto, 2016. Neon, 34 x 60 cm. Michel Rein Gallery

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
Alejandro Quiroga, contemporary landscape painter,expands the notion of territory from a geographic body to the broader concept of thought fields. His works evoke physical places, personal imaginings, metaphorical terrains and social environments, all at once.

Alejandro Quiroga, Hacia Adelante, 2021. Oil on canvas, 140 x 180 cm. Nac Gallery

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
It is a contradiction in the sense that it is not a painting but rather a collection of found objects that refer to the history of landscape painting, but which in this case is “made from” “landscape”. Reflecting on an idea of a hybrid nature, heavily industrialised, extractivist, closer to the current landscape.

Rodrigo Arteaga, Landscape Painting, 2020. Sculpture with found materials on wooden board, plexiglass, 120 x 100 x 12 cm. Galería AFA

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
Water as the protagonist, video sculpture where it seeks to transport the audience. He surprises with his work that it is almost like a registered trademark: silent videos in real time and a fixed camera.

Gianfranco Foschino, Estrecho de Magallanes, 2015. HD Silent Colour Loop13 min . Ed. 3/5 + 2 AP. Galería Leyendecker

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
This photographic triptych shows the results of an investigation around to the landscape, giving an account of the various geophysical and geopolitical formations of the Chilean territory from the overflight at latitude 33, as well as the abstraction versus the figuration posed by a dichotomy in the perception of the landscape. The trip took place on May 1 of the year 2015, commemorative date of the International Worker's Day and whose the route crosses the mountain range, the center of Santiago, the agricultural area and the Coast of Chile. In this triptych the images give an account of elements that constitute the territorial identity of the departure from Santiago de Chile towards the coast; images of the airport and an artificial lagoon.

María Francisca Montes , From the Vahído series N2, 2015.Photography, 65,5 x 132 cm. Galeria Die Ecke

Source: Extremismos
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EXTREMISMOS. THE LIMITS OF THE CHILEAN LANDSCAPE
The attitudes of Carolina Muñoz's characters do little to naturalism; on the contrary, they behave as people do today in front of the camera. The artist reviews images from Instagram and other platforms in which different communities give away their privacy to the public gaze. But nothing is so simple. The subjects do not innocently surrender to the digital gaze. Far from revealing their intimacy, they build a public image that disappoints the voyeur. There is no truth revealed by the camera, just a pose. Far from the truth, what the viewer obtains is the caricature of their own desires. - César Gabler

Carolina Muñoz, Desaparecer en el espacio, 2019. Oil on canvas, 180 x 160 cm. Isabel Croxatto

Source: Extremismos

The Chilean landscape is unique in the world. For its diversity and its magnificence. The extreme north, arid, desert, contrasts with the south, polar and silhouetted by high peaks. In between, forests, jungles, lakes, rivers and volcanoes. A unique starry sky, and a coastline that seems eternal. The artists have been captivated, trapped by the environment. In this exhibition, we offer you a selection of contemporary artists who have translated the landscape through art.

ARTISTS

Alejandro Quiroga
Alfredo Jaar
Carolina Muñoz
Catalina Swinburn
Christiane Pooley
Enrique Ramírez
Eugenio Dittborn
Fernando Prats
Francisca Montes
Francisco Rodríguez
Gianfranco Foschino
Jorge Tacla
Macarena Ruiz-Tagle
Natalia Babarovic
Nicolás Franco
Rodrigo Arteaga

Extremismos on Selections Viewing Rooms is on view until the 1st of August.

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