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The landscape between drifts and missing landings

by Claudio Musso


108 (Guido Bisagni), Andreco, Rebecca Agnes, Riccardo Benassi, Ludovica Carbotta, Luca Coclite, Luca Coclite/Giuseppe De Mattia, DEM & Seth Morley, Aldo Giannotti, Elena Nemkova

The concept of landscape has undergone a sweeping evolution in the Twentieth Century, disciplines such as architecture, anthropology, sociology, semiotics have opened an ongoing debate in which the artistic context has had a leading role. The ambiguous nature of the word itself means that within its semantic field is confined in meanings which in recent years have proven to be in constant struggle. Thinking about the conflict between natural and artificial it is easy to translate its value in opposing categories that have permeated debate on the landscape in recent decades: urban/non-urban, center/periphery, order/disorder, spontaneous/planned, etc.


EVERGREEN takes the form of trip in the landscape, as reality as well as representation. This journey begins with a walk in the city, Ludovica Carbotta’s gaze is turned down, it moves to probe the surfaces of urban space, by crossing the streets it adheres to the real skin of the city. Along the “vertical highway” of Riccardo Benassi we find ourselves in the Po countryside, in front of an ecclesiastical building and the environment in which it is inserted, following the persistence of formal elements as the artist says: «every pitched roof is an arrow».

In Liber Pater by DEM and Seth Morley, the landscape becomes Nature and with this passage it loses its anthropocentric connotation: evoking spirits, ancestral rites, looking for a union founded on the idea of cyclical change, which is renewed in the incessant vital rhythm. Nature needs new symbols to face the new era of his relationship with the human being states Andreco with the Parade for the Landscape, a performance, an open action to test the extremes of the land throw geography, politics and ecology. From the land to the see, in between a frontier that is at the same time a border and a passage among two worlds where Luca Coclite stages his horizon's ballet.

What can we see beyond the horizon? Is there a land in sight? The same land (and the same sea), the protagonists of Deriva, in which breaking the dreams of those who hoped in the possibility that the waves would become bridges for a new life. Another drastic change from a peaceful situation to a disturbing one comes from the Elena Nemkova work where an idyllic panorama of flowering trees suddenly gives way to an artificial and extreme environment; back to the future. In the landscape that we live every day time seems to have suffered a compression, the transition from the city to suburban farm - where it survives - allows a new reunion with nature in its popular role, as happens in the docu-fiction by 108. To get away from too close and partial analysis, the solution according to Aldo Giannotti, would be to imagine planet Earth like an alien place, then its (re)discovery would follow unexplored roads and the horizon would return to be a far limit. But in this new space, what happened to time? The only alternative is to reshape it, day by day, form after form, as suggested by Rebecca Agnes.



Claudio Musso is art critic, independent curator, PhD in Archaeology and Art History. He is lecturer at the Academy of Fine Arts in Bergamo (Italy) where he teaches Theory of perception and Phenomenology of Contemporary Arts. His curatorial practice is based on the relationship between visual art, language and communication. His research focuses on the idea of landscape, both real and imaginary. From 2004 until 2011 he wrote on, where in 2008 he became curator for the visualia column. He takes part in the Digicult network and collaborates with Digimag Journal. Currently, he is a regular contributor for Artribune. He was often invited to participate in international conferences with essays on urban art, new media, site and context specificity.

Musso, Carte Blanche