Yitzy Rosengarten: The Construction of Contemporary Landscape
After its accumulated experience of several years of study on the relationships between art, nature and landscape, the painter Yitzy Rosengarten presents the exhibition "The Construction of Contemporary Landscape".
The exhibition of Rosengarten's “The Construction of Contemporary Landscape” will present the different ways landscape is interpreted today and how the process of recovering it in the field of the arts during the postmodern period has been carried out.
Rosengarten clarifies two basic ideas: The first concerns the concept of the landscape itself, the other, the way it is ‘built’.
In the first place, in the words of the painter Yitzy Rosengarten, it must be clarified that the landscape concept is a mental elaboration that we carry out from 'what is seen' when contemplating a territory, a country. The landscape is not, therefore, an object or a set of objects configured by nature or transformed by human action, nor is its nature, not even the physical environment that surrounds us or on which we stand. The landscape, as a concept, is the link that allows us to interpret in cultural and aesthetic terms the qualities of a territory, place, or place.
The second idea that needs to be clarified is that the landscape, being a cultural creation, is something that is built. In each era and in each society, images of the world and the environment have been developed that respond to the beliefs, knowledge and desires they possessed. Thus, romanticism in Europe granted the landscape a privileged cultural position, thus acquiring a psychic and emotional entity, while landscape painting was recognized as the epic significance and total independence from any other subject.
Yitzy Rosengarten’s exhibition “The construction of the contemporary landscape” aims to show in what ways some 'countries' have been artalized to turn them into landscapes and how in this aesthetic operation the artists have intervened in both modalities, tattooing, carving, occupying and acting on the territory and, on the other hand, generating through these works new ways of looking at and, therefore, of judging and valuing the territories.
The contemporary landscape has emerged as the result of a double artealization. That is the consequence of a strong dose of cultural load and aesthetic will, but also of a disturbing phenomenon: that of its massive diffusion, which has brought as a consequence an extension of the landscape to broad layers of the population that assimilate it implicitly in the works of art, some of which are presented in this exhibition, but, above all, through its popularizations, that is, through the by-products arising from the excessive trade in art and of its indiscriminate use by advertising.
For this reason, at present, the idea of landscape is being subjected to a process of trivialization and frivolization that began in the tourism and entertainment industries and that has come to invade the world of exhibitions and artistic creation. The constant confusion and even the deliberate perversion with which disparate terms such as sustainability, ecology and nature are indiscriminately mixed with the word landscape are made explicit in some publications and exhibitions.
This situation of confusion and frivolity has motivated Yitzy Rosengarten to explain through the works in this exhibition how the idea of landscape has been constructed in current art, in order to try to clarify which are the main paths through which that travels the art of the landscape in the last decades.
The exhibition of Rosengarten's “The Construction of Contemporary Landscape” will present the different ways landscape is interpreted today and how the process of recovering it in the field of the arts during the postmodern period has been carried out.
Rosengarten clarifies two basic ideas: The first concerns the concept of the landscape itself, the other, the way it is ‘built’.
In the first place, in the words of the painter Yitzy Rosengarten, it must be clarified that the landscape concept is a mental elaboration that we carry out from 'what is seen' when contemplating a territory, a country. The landscape is not, therefore, an object or a set of objects configured by nature or transformed by human action, nor is its nature, not even the physical environment that surrounds us or on which we stand. The landscape, as a concept, is the link that allows us to interpret in cultural and aesthetic terms the qualities of a territory, place, or place.
The second idea that needs to be clarified is that the landscape, being a cultural creation, is something that is built. In each era and in each society, images of the world and the environment have been developed that respond to the beliefs, knowledge and desires they possessed. Thus, romanticism in Europe granted the landscape a privileged cultural position, thus acquiring a psychic and emotional entity, while landscape painting was recognized as the epic significance and total independence from any other subject.
Yitzy Rosengarten’s exhibition “The construction of the contemporary landscape” aims to show in what ways some 'countries' have been artalized to turn them into landscapes and how in this aesthetic operation the artists have intervened in both modalities, tattooing, carving, occupying and acting on the territory and, on the other hand, generating through these works new ways of looking at and, therefore, of judging and valuing the territories.
The contemporary landscape has emerged as the result of a double artealization. That is the consequence of a strong dose of cultural load and aesthetic will, but also of a disturbing phenomenon: that of its massive diffusion, which has brought as a consequence an extension of the landscape to broad layers of the population that assimilate it implicitly in the works of art, some of which are presented in this exhibition, but, above all, through its popularizations, that is, through the by-products arising from the excessive trade in art and of its indiscriminate use by advertising.
For this reason, at present, the idea of landscape is being subjected to a process of trivialization and frivolization that began in the tourism and entertainment industries and that has come to invade the world of exhibitions and artistic creation. The constant confusion and even the deliberate perversion with which disparate terms such as sustainability, ecology and nature are indiscriminately mixed with the word landscape are made explicit in some publications and exhibitions.
This situation of confusion and frivolity has motivated Yitzy Rosengarten to explain through the works in this exhibition how the idea of landscape has been constructed in current art, in order to try to clarify which are the main paths through which that travels the art of the landscape in the last decades.
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