April 23, 2013 - Museo del Palacio de Bellas Artes - Panorámica. Paisajes 2013-1969
April 23, 2013

Panorámica. Paisajes 2013-1969

Verne Dawson, Cycle of quarter-day observances, circa 23800 b.c. When Santa was a Shaman, 1999. Oil on canvas, 208.3 x 254 cm. Mima and César Reyes Collection. Image courtesy of the artist and Gavin Brown’s Enterprise. © Verne Dawson.

Panorámica. Paisajes 2013-1969
(Panorama. Landscapes 2013-1969)

April 25–July 7, 2013

Museo del Palacio de Bellas Artes
Av.Juárez. Esq. Eje Central, Centro Histórico C.P. 06500, México D.F.
Mexico City
Hours: Tuesday–Sunday 10am–6pm

www.museopalaciodebellasartes.mx

The Museo del Palacio de Bellas Artes is pleased to present Panorámica. Paisajes 2013-1969 (Panorama. Landscapes 2013-1969) from April 25th to July 7th. Curated by Sylvia Navarrete and Itzel Vargas Plata, the exhibition emerged from the intention to review one of the most long-lived genres of art history. Its purpose is based on certain archetypes associated with landscape and that are produced by this genre since the landing on the moon to the present year.

The origin of ‘paisaje’ comes from the French word pays that means country and responds to a geographic-economic notion. ‘Landscape’ derives from the Dutch “landschap”: region or earth portion; while ‘panorama’ alludes to an extensive view. As the French artist Jean-Marc Bustamante said referring to its “Tableau” series, “[…] panorama is something in between landscape and the aperture of sight.”

These meanings converge on a curatorial selection where the international and multidisciplinary artworks meet merely in its landscape reference. Technological progress, media breakthrough, changes in the relationship of men towards nature, economics trends, production systems and human psychology treaded together into the consequences in which landscape materializes.

The genre has been fundamental for art not only to contextualize but moreover to emphasize the sense of an idea. Like it is impossible to imagine Théodore Gericault’s The Raft of the Medusa without a roughened sea, in an artistic discourse it is evident the concern towards the environmental crisis and the resignation of precise symbolisms ahead of an urban or rural scenarios in order to express a mindset.

As means to an end or as an expressive and formal resource, landscape has been fundamental for art history. Through Panorámica. Paisajes 2013-1969, the Museo del Palacio de Bellas Artes seeks to ponder over its concept and its endless symbolic, metaphoric, allegoric, documentary, social and aesthetic reaches within the last four decades.

Artists:
Abraham Cruzvillegas, Alex Dorfsman, Alfonso Mena Pacheco, Amador Lugo Guadarrama, Andreas Gursky, Andy Warhol, Ángela Gurría
, Anna Bjerger, Anthony Goicolea, Bernd and Hilla Becher, Bill Viola, Boris Viskin, Calixto Ramírez, Chris Ofili
, Damián Ortega, Daniela Edburg, Edward Burtynsky, Eija-Liisa Ahtila, Eric Pérez, 
Enrique Metinides, Erinç Seymen, Félix González Torres, Fernanda Brunet, Fernando Aceves Humana, Francisco Castro Leñero, Francisco Toledo, Gabriel Figueroa, Gilberto Esparza
, Graciela Iturbide
, Gregory Crewdson, Gunther Gerzso, Hiroshi Okada
, Hiroshi Sugimoto, 
Hrair Sarkissian, Ishmael Randall-Weeks, Jean-Marc Bustamante, Jorge Méndez Blake, José Arnaud, Julio Galán, Luis Gal, Liliana Porter, Marcela Armas, Marcos Castro, Margherita Spillutini, María José de la Macorra, Mario García Torres, Mauro Giaconi, Miguel Calderón, Miguel Castro Leñero
, Nigel Cooke, Olafur Eliasson, Pablo López Luz, Peter Doig, Phil Kelly, Ramiro Chaves, Rineke Dijkstra, Roberto Turnbull, 
Roni Horn, 
Rufino Tamayo, Sofía Táboas
, Stephen Shore, Tacita Dean, Taka Fernández
, Thomas Ruff, Thomas Struth, Verne Dawson, Vicente Rojo
, Vija Celmins
, William Eggleston

William Kentridge
, Wu Chi-Tsung, Yishai Jusidman, Yoshihiko Ueda

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