Julio Falagán
Silvana Pestana
Saleta Rosón

Installation view of the exhibition “Donde solíamos mirar” at Ginsberg + Tzu Madrid




Installation view of the exhibition “Donde solíamos mirar” at Ginsberg + Tzu Madrid

Julio Falagán
Untitled (Large sky 2 columns), 2020
Assembling skies from popular landscapes and frames.
Variable measures




Installation view of the exhibition “Donde solíamos mirar” at Ginsberg + Tzu Madrid


“The notion of landscape that presides over our current world is increasingly complex, a limitless conversation between human, social and aesthetic geography. Artists, by allowing themselves to be influenced by this diversity of mestizo cultures and identities, generate their own visual patterns and representational singularities, which transform the space we inhabit. The gaze creates space; How we look and where we direct our gaze transforms the environment in which we place ourselves as beings. "Where We Used to Look" presents three views, three worlds, three positions.

Silvana Pestana's aerial view offers us a perspective capable of encompassing one of the great problems of our planet: the havoc produced in the Amazon due to illegal mining and its multiple consequences. The artist addresses this issue with the perspective that only that height can provide, using the map as a symbol and primary element of territorial struggles.

Julio Falagán's horizontal view, or composed of many horizons, is democratic. It rises to the sky as the only legitimate place to look, stripping the landscape of its lands to make them part of something bigger: a hopeful escape route that questions where it makes sense to direct our gaze in a world dominated by borders.

Finally, Saleta Rosón's camera points inward, to the forest and to memory, searching for those pristine places, not yet politicized or humanized, but recognizable as belonging to a land full of legends. Her work explores an identity based on magic and a landscape worth protecting, in the artist's exhaustive search for a sublime and indomitable nature.”

Óscar Manrique
Curator