GERMÁN TAGLE'S REDEFINITION OF LANDSCAPE
Germán Tagle (Santiago, Chile, 1976) returns to Madrid's Daniel Cuevas, where he held his first exhibition two years ago, with El territorio portátil, a show in which the Chilean artist returns to the axes of landscape, painting and culture that have been the backbone of his latest productions.
Starting from the interpretation of the most common narratives on climate change, Tagle tries to overcome the catastrophism present in those discourses to reorient, perhaps as an escape route or personal desire, a more optimistic and triumphant visual language, futuristic if you will, in which nature has won with a certain pragmatism.
Thus, his oil paintings with cutouts on the backgrounds reflect landscapes of oneiric character and natural strength, despite the contrast of the use of unnatural colors and shapes, but that refer us in their result to an imaginary nature. The organic intention itself seems to reside precisely in those cuts, trying to resemble the vegetal silhouettes that give that essence sought far from artifice and more in the interest of recovering a stylistic tradition of landscape.
Tagle's visual narrative allows us to visualize certain proposals, somewhat unimaginable, but with a character of possibility of new environments. We would be, then, before some of those post-apocalyptic options present in certain current Latin American literature, defined by unrealities arising from the mental scenarios of a world in crisis.
El territorio portátil can be seen until November 8 at the Daniel Cuevas Gallery, Santa Engracia, 6, Madrid (Spain).
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