"The space of culture, defined by art and architecture, is also marked with proper names, but those names, in addition to referring to characteristic forms, are loaded with emotional meanings. Through this emotionality, of significance cultural, collective history and personal memory, the geographical space becomes landscape, town or place, it becomes place ".

Javier Maderuelo, The idea of space in contemporary architecture and art, 1960 - 1989

"Assuming the position of a daring adventurer, committing oneself as an investigator, taking the risks of an explorer or achieving the achievements and failures of every expeditionary, are some of the basic but complex roles that must be assumed, to throw oneself fully into the contemporary search around the concept "landscape".

This search will begin in the understanding of its epistemological origin, going through history and theory, until arriving at the aesthetic contemplation of the territories and the views that have been given since the 15th century. It starts with the question: what remains to be discovered, what new territories remain to be explored? The answer is located in the field of letters, both in history and in literature, where references and descriptions do not stop growing, territories open to the imagination, which generate itching, the need to embark on a new experience. landscape.

In this research-creation project, it will start from theoretical bases around the landscape and the aesthetics of contemplation assumed by theorists such as Javier Maderuelo, Yi-Fu Tuan and Jean Marc Besse; The research, experimentation and creation process that has been developing from the CuBO.X residence at Casa Tres Patios and the new processes and dynamics that begin to emerge from the [RAT] residence (June - July) in Mexico City will continue. .

It will also start from two hypotheses: one from Hal Foster and the other from Rosalind Krauss. According to the first, all research in contemporary art is understood, not as the vertical deepening of a language, as occurred in modern art, but as the horizontal displacement through different media and resources, which the artist takes advantage of in an eclectic way, from according to a specific need. According to the second, we anticipate the possibility of understanding the drawing in its extended or expansive dimension, in which its foundations are maintained, despite the fact that the supports, the inscription, the scale, the materials and the combination with other languages put it. in a situation of estrangement or dislocation.

With this scenario, the project will approach the landscape from different perspectives, which may be philosophical, artistic, historical, social, economic, cultural and literary. These meetings from the word, will generate abstracts that will be taken into account throughout the research-creation process and will be shown during the socialization of the project to the public.

This process will be a period where chance, uncertainty and the unforeseen form part of the language of creation and where the construction of pieces is proposed that will have as a starting point the "ideal" or the "meaning" of the term landscape, starting from the plastic experimentation that, although presided over by the common thread of the drawing, will put in conflict the relationships between word and image, object and image and medium and image, from different perspectives.

This search will allow the assumption of problematic interactions between languages and the blurred boundaries between simulation and reality, original and copy, fiction and document. The word will be restored to its generative, utopian and parodic capacity, turning it into a tool that complements the image, taking plastic production to an extended or expansive dimension ".

Taken from the project presented by Jorge Marín to the call for Joint Residence 2015.