Topography – Group Exhibition
The syntax that supports "topography" is not obvious. There is no formalistic sequence or medium to "justify" the placement of these works in a shared space.
The component that unites the works is fused at the moment of their reckoning, the initial motivation for creating the art work. The artists participate in the exhibition through different means, and varied actions, as well as various fields of deliberation. They define themselves in relation to their surroundings. They all create a relative territorial outline. The acts of indication and the creation of an archive are found in the base of modern art.
In 1978, William Jenkins curated the exhibition "New Topographics: Photographs of a Man-Altered Landscape" at the International Museum of Photography in Rochester N.Y. This exhibition epitomized a key moment in landscape photography. The photographs applied a new stance in dealing with landscape. The artists abandoned worship and glorification and the longing of the unattainable, and instead marked and mapped the borders of intervention between city/surroundings/nature. Jenkins viewed the topographic works on two plains, the physical and the mental, as well as the natural and cultural.
When Gerhard Richter exhibits Atlas, he understands (better than anyone) the need for art to be an index. The creation of an index that is an impossible and illegible map. It is an arrangement that simulates a condition of order and definition while simultaneously turning sterile and random.
Do maps enable understanding of space? Is the act of charting an act of clarification? The general premise that a map is an abstraction of reality revokes these possibilities. Abstraction opposes description/clarification/understanding.