Jose Luis Landet // Taxonomy of a landscape - Pablo Jansana // New Monuments

Taxonomy of a Landscape 

Writer Mark Kramer describes the work of Landet on his essay titled “Taxonomy of a Landscape”

When George Sand, the troubled Romantic writer, was just a young pregnant woman, a slight illness forced her to lock herself in her room for six long weeks and give up the horse back rides in the park she so enjoyed. With sadness, but with hope, she took charge of moving the park itself into her room: the roof was covered with green cloth, the corners were filled with fir branches and timid birds were taken in to fly within those four dark walls.

To recreate a beloved landscape, requires us to know it intimately.Bringing a landscape before our eyes, confronts us with the need to define it in a subjective and capricious manner: a single fabric, some branches and aflock of birds were necessary in order to recreate Sand's forest indoors.

When Landet works, classification is the most accurate way to know every tiny detail of these unfamiliar paintings. He cuts them, he covers them, stains and almost inadvertently rescues them from oblivion.

But the taxonomic process involved is more than an obsessive-compulsive impulse to classify and categorize. Taxonomy becomes a way of narrating andtelling stories; since narrating requires the gathering of events in time; such as hundreds of small squares of different canvases and making us believe they were born from the same brush.

The paintings used by Landet, paintings tarnished by indifference and at some point left at the flea market by a heartless individuals, were at one point temporarily at rest, a visual history full of intimate anecdotes revealed only to the men behind their signatures. They are, (now I realize like those stories heard over generations at the center of a family table), as if theywhere part of an ancient oral narrative hidden behind a portrait, a slashedphotograph or a series of handwritten signatures.

Only after watching with scientific patience, Landet could now listen to the anecdotes once told by those paintings. He collaged, fragmented, andbitterly interrupted them with a wall or a thick black stain to narrate thetales of a different generation marked by other horrors. Thus, letting us understand that by looking back and rearranging the images of the past, becomes not only a way to create an original work, but a chance for all which has preceded not fade into oblivion.

Full of hope then José Luis Landet has created in the middle of these bright and white (and not the Sand's dark room) gallery walls, the birth of an intimate and vast landscape, which we yearn and will secretly recount to the children of our children.


Pablo Jansana’s two-dimensional work locates the body as the locus for both personal and political crises. An artist who regularly addresses issues of architecture, sociology and culture at large, Jansana’s newest works suggest repressive networks that also act as regulating structures. A collagist at heart, Jansana’s art largely consists of unexpected confrontations between everyday materials. Even without recognizable images, his various media—resin, polyurethane, acrylic, fiberglass—issue sparks when they meet, creating spaces for observation and, ultimately, dialog. 

Christian Viveros Fauné

New York based art critic and curator

Village Voice / ArtForum / Art in America

Pablo Jansana, (b. 1976, Santiago, Chile), has a long track record of solo and group exhibitions for commercial and institutional venues. The most recent include the upcoming Bienal Museo delBarrio NYC, "Here is Where We Jump" curated by Chus Martinez and Rocio Aranda Alvarado. Visible architects curated by Christian Viveros Fauné; Washington DC Chile Embassy. Maryland University Washington DC; Museum of the City of New York; AMA Art Museum of the Americas, Washington DC: “NewGeometrics”; The Goma España Madrid: “Fall and Fold”; The Goma España Madrid: “20 Minutes of weight”. Art fairs such as Arco Madrid as “highlighted artist”, Pinta New York, ArtLima Perú, ArteBA Argentina. He has also take part in different residencies and other programs, including the International Studios and Curatorial Program ( ISCP ). He has won numerous awards like ISCP, Dirac and Fondart among others. His work has been part of a series of publications; 

 On view at Dot Fiftyone Gallery, 187 NW 27th St, from September 12th through October 31st, 2013



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