Topografías Insostenibles II
Camila Rodrigo has undertaken a critical investigation into the construction of the concept of “natural landscape” and her photographic practice as the author of images centered on a procedure capable of capturing nature and constructing it, in turn, as an ideal of beauty. In her own words, she is aware of how the photographic process culminates in “an image of something that is, and yet is not,” and chooses to act against the current.
Her present proposition is not a photographic series in any sense of the phrase. Rather, it seeks to reveal, through the use of different tools, just how alien we are to our natural surroundings. She starts from the premise that the construction of the landscape through the medium of photography places us in the middle of a fold fiction: that created by the perception that space has boundaries so as to foster our empathy with what we call “nature.”
She thus seeks to reveal the artifice behind any construction of the natural landscape. To do this, she avails herself of numerous aesthetic devices, ranging from an incisive questioning of photographic quality as a guarantee of the beauty of the landscapes photographed (the photocopy is one example of her critique), to the open, confrontational introduction of artifice in the creation of new “natural” situations. The displacement to which she subjects photography, bringing it closer to sculpture, is a radical procedure. One work in particular serves as a formidable summary of this transition in Rodrigo’s creative process: the video of a print of an image that transforms our visual perception of materiality, wherein the paper’s waves become liquid, suggesting a mudslide.
"Topografías Insostenibles II" (“Unsustainable Topographies II”) is the result of Rodrigo’s time at an artist’s residency in Switzerland, creating a visual context in the exhibition room that likewise raises the artist’s questions regarding her own location in the field of contemporary aesthetic practices.