June 15 - September 15, 2020

"Utopic Landscapes" - Online exhibition


On view now: Sans titre 45 by Terencio González in Collector Series #1 "Utopic Landscapes" online exhibition curated by Marie Maertens @mariemaertens - Now to Sept 15, 2020 at www.collectorseries.tv by Dalbin


"A map of the world that does not include Utopia is not worth even glancing at" Oscar Wilde

In 1516, Thomas More published "De optimo reipublicae statu, deque nova insula Utopia". As a lawyer for merchants in the city of London, he had been sent on an official mission to Flanders, and began to work on his project in Antwerp, in 1515. Written in Latin, the text was very well received by the humanists for whom it was intended, notably for More's personal interpretation of the ideal city, a subject that had been debated since ancient Greece. More wondered how an egalitarian, just and harmonious society could be established on earth. "Utopia" comes from the Greek ou-topos, which means "no place", "nowhere" or "without place". It can also be interpreted as a space somewhat disconnected from reality, which by extension calls to all possible imaginations. Up until the 18th century, the utopic landscape was represented by tidy cities or orderly gardens, while artists dared at the birth of Romanticism to confront wild beauty and natural anarchy. The landscape became no longer just a genre in itself, but a reflection of the accompanying transformations of society and the arts.

Today, in this complex period where everyone has been subjected to involuntary introspection, sublimating or fantasizing the natural or urban landscape allows us to respond to journeys that we can no longer undertake, while nourishing our vision of the outside world differently. Besides, what new definitions should be given to the concepts of interior or exterior and what space to consolidate time between resurgences of the past and futuristic projections? These questions are answered by the thirty international visual artists selected for the exhibition "Utopic Landscapes". - Marie Maertens