Post-Digital Landscapes

About

Landscape is, by etymological definition, a part of a territory that can be observed from a certain place. This implicitly names the existence of two antagonists: someone who looks and something that is looked at. Landscape is also one of the most important pictorial genres in the History of Art, with infinite works, techniques and authors who have attempted to encapsulate the territory, the eco-political relations that construct it and its inhabitants over time. These landscapes require an observer, but also a 'creative someone'.

In contrast to the pictorial landscape, the digital landscape is ubiquitous. It can be in one or thousands of places at once. Its territory is 'the cloud'. Its creation can be individual or collective. These landscapes do not depend on gravity or physical forces that manipulate it, but on the code that constructs it. Digital art opens up infinite possibilities to create new landscapes in perpetual transformation, either present or future, either real or imagined. It opens windows to other worlds to explore not only aesthetically, but also politically and socially, all the spaces we inhabit.

In our post-digital society we need to address the relations between digital, biological and cultural systems, between virtual and physical spaces, between the virtual and physical space, between technological and tactile experiences, between virtual and augmented reality, between roots and globalisation, between autoethnography and community narrative.

In this context, we present five artworks in this exhibition whe were selected as winners of an international open call: 

- 'Safety Chunks' by Alejandro Vázquez Tomé (Spain, Galicia) 
- 'Sensory Cellumonials' by Baum & Leahy - Amanda Baum and Rose Leahy (Denmark / United Kingdom)
- 'The Unbinding' by Lauren Moffatt (Australia)
- 'AUTOESCOPÍA. O Universo observándose a si mesmo' by MIL111.lab - Iria del Bosque, Borja Bernárdez (Spain, Galicia)
- 'Spring.Industries: Navigations' by Thomas Brett (United Kingdom)