Javier Correa, Victoria Jolly: Ciudad Abierta
Ciudad Abierta
(S. 223 – 236)

Javier Correa, Victoria Jolly

Ciudad Abierta
Solo es suelo lo que guarda el abismo— Only What Holds the Abyss is a Ground

PDF, 14 Seiten

  • Kulturkritik
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Javier Correa

is a documentary filmmaker whose work dwells on memory, urban space and art. He is the director of the feature-length films Amereida: solo las huellas descubren el mar (2017) and A primera hora (2012). He has also edited the documentary Palabras cruzadas (2014), on the artist Gordon Matta-Clark. He has collaborated with several artists on public interventions such as Casagrande’s Bombing of Poems, and exhibitions. He is currently a member of Ciudad Abierta (Open City), where he participates in collaborative curatorial and artistic projects. These include the exhibition La invención de un mar. Amereida 1965/2017 at the Museo Nacional de Bellas Artes de Chile, Santiago.
Jens Andermann (Hg.), Lisa Blackmore (Hg.), ...: Natura: Environmental Aesthetics After Landscape

Entangled with the interconnected logics of coloniality and modernity, the landscape idea has long been a vehicle for ordering human-nature relations. Yet at the same time, it has also constituted a utopian surface onto which to project a space-time ‘beyond’ modernity and capitalism. Amid the advancing techno-capitalization of the living and its spatial supports in transgenic seed monopolies, fracking and deep sea drilling, biopiracy, geo-engineering, aesthetic-activist practices have offered particular kinds of insight into the epistemological, representational, and juridical framings of the natural environment. This book asks in what ways have recent bio and eco-artistic turns moved on from the subject/object ontologies of the landscape-form? Moving from botanical explorations of early modernity, through the legacies of mid-twentieth century landscape design, up to artistic experimental recodings of New World nature in the 1960s and 1970s and to present struggles for environmental rights and against the precarization of the living, the critical essays and visual contributions included in Natura attempt to push thinking past fixed landscape forms through interdisciplinary encounters that encompass analyses of architectural sites and artworks; ecocritical perspectives on literary texts; experimental place-making practices; and the creation of material and visual ecologies that recognise the agency of non-human worlds.