In Coll de Pal – Cim del Costabona (1990), Perejaume symbolically moved the Joan Prats gallery to the top of the mountain, reversing the idea of ??taking the landscape to the exhibition hall to contemplate it. On the other hand, the Swiss Rèmy Zaugg tried to frame it within the canvas in Projection (morning / afternoon)] (1990/2019), where he documents the performance carried out on the Stein glacier. Like plein air painters, Zaugg placed his canvas outside, but the canvas was so large that it prevented him from seeing the landscape. To solve this, he resorted to the pictorial convention of projecting a slide onto the canvas, in this case of the panorama in front of him.
The works of Perejaume and Zaugg are part of Horizonte y limit. Visions of the landscape, an exhibition that has as its starting point the La Caixa Foundation Contemporary Art Collection and that examines how our relationship with nature has changed. Curated by Arola Valls, it shows how contemporary artists represent it and the traces that human action is leaving on it. This is the case of the 71 photographs that Sophie Ristelhueber took in Kuwait after the Gulf War. Or Andreas Gursky’s portraits, of green hills covered with solar panels.
The exhibition, which in addition to La Caixa funds, has important loans, expands the one that could already be seen in Madrid and brings together an impressive list of artists including Anne Imhof, Tacita Dean, Patricia Dauder, Hamish Fulton, Joan Fontcuberta , Dionís Escorsa, Bleda
