A NEW IDEA OF NATURE

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In this issue of ART MAG we make a relationship between art, science and technology. In recent times the visual arts have questioned their own limits using science as one of their main allies. The pieces of art produced in this context not only imagine new aesthetic possibilities for art but also challenge current political, social, moral or economic values. What are the tools that art must use to open new paths? Some of the pieces we cover in this issue rehearse some answers

Fotografía: Fernanda Ortíz

Dear Collectors,

Fresh from the oven arrives our Art Magazine num 26 ! And it is all about Nature! As a society, we have lately been forced to rethink our relationship with the environment we inhabit. There is some hope we finally surrender to the idea that melting with nature is wiser than fighting against. Along these pages we address some of the basic concepts that intersect bewteen art and nature. From a theoretical perspective, you will find an overview of the concept of mimesis and its development so as to understand contemporary debates. We focus also on materials, what do artists produce their work with? Not to leave aside the impact of global warming that also discusses the interview with Nina Fiocco about her film Le Domestique.

We also celebrate the collaboration with digital artists who have appropriated the pages of our Art Mag to beautify this issue with such images as animations and gifs we have carefully curated.

Through the question: how do we exchange with our surroundings

Attentively,
Regina de Con Cossio
Director

Sybaris Collectors

Art and Nature: A Mimetic Confrontation By Julio Horta

VersusMathilde Roussel vs Mattingl

Cold or Warm By Camila Durán What materials fuse art, science and architecture

Interview With Nina Fiocc

10 Pieces of Art that Reflect on Natur

The Highlights of the NFTs

Mark Wolfryd: Una reverencia en siete etapas para Patricia Caulfield

Image via https://anti-utopias.com/art/mathilde-roussel-lives-of-grass

Paris, 1983

When we talk about Mathilde Roussel and her artistic relationship with nature, it is inevitable to talk about Life of Grass, a series of hanging sculptures made of recycled metal with anthropomorphic shapes, filled with grass, earth and seeds that will become pieces of green grass. The piece revolves around the concept of transformation. And death. For the French artist and designer, nature is inevitably linked to annihilation. As with many of today’s contemporary artists, Mathilde Roussel understands that the human being is not an entity alien to nature. There are no two separate entities that coexist by inertia. The human being is a product of nature. And this is not only affected by human activities, but also adapts to them. In Life of Grass a human figure seems to have mimicked the earth. His driving force comes from her. But also his fateful fate. Life of Grass can be a sculpture or even an installation.

In the rest of her work, the French artist reflects on the organic. The residence space for artists Pioneer Works defines it as follows, “Roussel progressively gives up control over the materials she uses by letting them find their own form of existence. She selects mediums that are both fragile and resistant: paper pulp, graphite powder, incised rubber or plants. This choice allows her to explore unstable forms and observe their continuous mutation. Through incision, opening, recovering and suspension, the artist forces the forms she produces to find their place in space, thus expressing and revealing the movement they contain in themselves. To a larger extent, Roussel’s practice seeks to record temporalities that inhabit our corporeality: aging, hardening, scarring and mutation. Thisresearch consists in producing tangible forms that indicate our vulnerability.”Human beings and nature cannot be dissociated. But neither can it be thought that nature possesses human attributes such as morality, wisdom or sacredness.

Rockville, 1978

While for Mathilde Roussel the relationship between humanity and nature is mediated by the organic, the return to the origin, fertility and death, for Mary Mattingly this mediation must be done through sustainability, adaptation and survival, as if humanity had the ethical responsibility to take care of what it has corrupted. It does not mean that Roussel does not believe that humanity has caused damage to nature, but that Mattingly’s vision is a political trait that the French artist lacks. The American artist approaches the problem from performance, photography and architecture. For her it is not only important to report what she sees but to offer an immediate solution. And she does it through art and design. Its solutions invite viewers to become part of a collective movement to adapt to the new times.

Let’s change or die, seems to say one of her most emblematic pieces: Pull from 2013, where she is seen dragging a cluster of plastic, glass or technological objects that seem not to yield to the strength of the artist. About her Nomadographies (nomadic pieces that create new maps of the territory) Mary Mattingly explains: “My work proposes a world returned to nomadic roots following a peripatetic population constantly on the move. It expects that in the near future, much more of the world’s population will be forced to be nomadic. I focus on the creation of wearable environments, and autonomous living/traveling systems, based in engineering and science and fused with fantasy.” Science, art and nature have a rare component: politics.

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