Claudia Segura, Barcelona Spain
Claudia Segura (Barcelona, Spain, 1984). Holds a Bachelor’s Degree in Humanities from Pompeu Fabra University (2007), a Master’s Degree in Contemporary Art Theory from Goldsmiths University, London (2007-2008), first cycle of the Independent Study Program, MACBA, Barcelona (2010). She also obtained an internship in Tate Modern’s Curatorial Department (2008-2009).
She has worked as Programs Coordinator at the Videoart Loop Festival, at the Cultural Department in Foundation “la Caixa”, at ADN Platform and was a Tutor at the Sala d’Art Jove as well as visiting professor at the University Pompeu Fabra in Barcelona. In a more international level she has worked as the curator of Mardin Biennial in Turkey and she is the curator of NC-arte in Bogotá, Colombia.
Moreover, she has curated and co-curated several projects such as Fifty from Han Nefkens H+F Collection in collectorspace, Istanbul (2014), the cycle: Micro-actions of emergency at Adn Platform, Barcelona (2013-2014), Copy / Paste – Recodifying the gesture at the Instituto Cervantes in London (2013), Conclusion never comes – a reading on the Coleçao desenhos de Madeira, (Teixera de Freitas) at Sala El Broncese for Foro Sur, Cáceres (2013), Past Forward for the Video art Loop Festival, Barcelona (2010), Like Tears in Rain at the Palacio das Artes in Porto (2010), Shacking Idiosyncrasies in the gallery Hold and Freight, London (2009) and Producing Urban Order at Goldsmiths University, London (2008).She has published in several catalogues as well as currently writes for specialized art magazines. She has done the editorial coordination of Florae, the first magazine of Flora ars+natura in Bogotá, and she is one of the members of the research collective: de vuelta y vuelta and founder of the group: para abrir boca.
"The real voyage of discovery consists not in seeking new landscapes, but in having new eyes." - Marcel Proust
What we assume when we talk about landscape? The landscape as represented by Tobias Kaiser in his wonderful acrylic paint, is that vast sublime territory, that catches our attention and intrigue while it waits patiently to be traveled. There is a certain element of adventure to face the concept of landscape, because this presupposes a certain extent, a discovery. Today if we make two broad categories of types of landscapes, as a territory, we could speak of virgin or natural spaces and other extensive grounds totally domesticated or urbanized. Indeed, the endless highways, skyscrapers, perfectly cylindrical highways in urban areas of large cities are a landscape that we inhabit, mixed with the natural characteristics of each territory. We could talk about a deterritorialization of nature as a coexistence of contemporaneity with the natural resources of the land. In this way, Maria Pomiansky portrays it in her artwork Highway to Bern, where layers of oil paint show the transience of the pulse of the city, its rapid movement and its many sensory layers. We perceive through this intersection that the Swiss painter gathers all the components that defines an urban landscape: the smoke of industry, the mall, the asphalt road combined with mountains oaks and typical beeches of Bern. We also observe a bridge that hides a semi-abandoned space under it.
Oftenly the gray areas are not retained by our eyes. They go unnoticed because they are less visually interesting but they also create an entire landscape. In her Blackroads series, Sara Jainin, a native of Madrid, shows photographs of these abandoned places. Desolating but certainly beautiful, one of these places are portrayed in the black & white photograph Backroad 1, that immerses us in a space where time has stopped.
There’s no human activity, and even the trail that once was, no longer exists. Empty benches waiting to be habited while been forgotten under the white snow. Such as Backroad 5, where we see the sign of an ice cream under a desolate mountain with some clouds, both are prints of relaxation and meditation that communicate us pause and stationary cycles.
These anonymous and trasience spaces are at the service of an ephemeral step. Based on modern anthropology, they have been described as "non-places". In his plastic process of accurate brushwork, Ricardo Gonzalez takes as inspiration this phenomenon, in order to portray it with layers of colors and create a new landscape based on his imagination. Indeed, the landscape is also emotional. Fantasy becomes an essential element to read an image on his series: "Souvenir of non-place" the artist shows how seemingly insignificant elements can become the germ of abstract compositions that allow us to invent other possible places.
In this selection, Ricardo González opens the doors to the imagination, and helps us to redefine a landscape that transcends all possible borders and where the mind plays a key role. Would not then the landscape be something that we create in our own minds? The one we design with eyes closed, sitting on a sofa next to the warm fireplace as we hear the rain on the skylights that protect us. Without a doubt the mixed media composition entitled: Mi Interior as an internal landscape made by Lluc Queralt, send us into a world where the journey becomes a path into ourselves. The key to se see the landscape is just within, like observing a work of art, our eyes must accommodate well into the light and combine it with the conceptual value that we gave it. That’s how the magic happens and we can understand and compose other places.
CLAUDIA'S SELECTED ARTWORKS: