In January 2017 on Internet stream, SmartTV app, AppleTV.
Or watch it anytime on ikono On Demand
Since the 18th Century, the process of industrialization drastically modified the relationship between the individual and the landscape. With the expansion of urban areas and the proliferation of constructions and infrastructures, our visual field experienced a radical change: architecture-overloaded urban environment progressively hid the horizon, almost impeding us to gaze at the open land. With the evolution of a new, overcrowded environment and the sudden proximity of buildings, the open outlook shrank into tunnel vision.
Nature almost disappeared or became part of a urban planning in which meadows were covered with fields of concrete and an increasing number of taller buildings serve to an ever-growing population. The skyline has replaced the profile of mountains; concrete, plastic and glass have replaced organic matter.
The traditional connotation and experience of a landscape is today completely transfigured, and it is in some ways configured in an experience that is physically confined to the outskirts of our daily life. Moreover, the urban landscape has now become our actual “natural” landscape.
With this in mind, the program "Inner Land" brings together a selection of video works with the aim of observing and exploring the way artists deal today with the environment and the notion of landscape, and the issues that eventually arise when the natural and the artificial overlap.
One of the most radical examples of this is described in “The World” (2012) by German artist Niklas Goldbach, which was filmed on The World Islands, an artificial archipelago of several small islands constructed in the rough shape of a world map, located off the coast of Dubai. The work directly refers to themes of German Romanticism: the significance of nature versus the insignificance of man as well as the desire to find an emotional response in the natural world through contemplation, an image often depicted through a human figure silhouetted against a vast and expansive landscape.
Nicolas Rupcich’s work “Big Pool” (2009) shows one of the world’s largest swimming pools, located on the Chilean coast. With over one-thousand meters in length, two-hundred and fifty million liters of water and a size equivalent to six-thousand domestic swimming pools, the work focuses on the obvious artificiality of the location and on the strong visual contrast this association creates, but it also underlines the way this pool is meant to fade into the surrounding landscape when the artificial water and the ocean seem to merge.
Shingo Yoshida’s “Journey to the center of the earth” (2014) is a reinterpretation of Jules Verne’s homonymous science fiction novel published in 1864. While traveling throughout the country, the artist observes the Icelandic landscape with the attitude of an explorer. His gaze focuses on suggestive details of the unfreezing nature within a landscape devoid of any building and artificial construction.
With no human interaction nor presence, Carla Chan’s work “When a Circle Meets the Sky” (2012) intensifies the isolation of the remote Mojave Desert by reflecting on the intriguing relationships among nature, technology and human agency. Opposing conventional filming in which a man-driven camera captures the objects in front of it, the artist uses instead a mirror to allow the camera to look both forward and backward simultaneously. A tripod-installation allows the wind to choose the perspective of our view.
The theme of a technology-mediated gaze is approached in Jacques Perconte’s “Libres” (2012) and Nicolas Rupcich’s “No Landscape in Sight” (2015), where the digital image of a sunset is respectively deconstructed in its pixels until the point of abstraction, or intensified and copy-pasted in another landscape thanks to post-production techniques.
The group show Inner Land also includes works by Simon Faithful (“Aurora Borealis”, 2006), Daniel Beerstecher (“Sand am Meer”, 2010), Eelco Brand (“N.Movi”, 2011), Kota Ezawa (“City of Nature”, 2011), Mateo Amaral (“Algunos Paisajes”, 2016), Sara Tirelli and Elena Mazzi (“A Fragmented World”, 2016) and Ange Leccia (“Les Mers”, 1976-2012).