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LANDPARTIE september 24 - november 21, 2009
  • Landpartie Ig

    Landpartie Ig, 2009

    C-Print on aluminium, 98,5 x 150 cm. Ed.6 + AP

  • Landpartie Ie

    Landpartie Ie, 2008

    C-Print on aluminium, 90 x 120 cm. Ed.3 + AP

  • Landpartie If

    Landpartie If, 2008

    C-Print on aluminium, 112 x 150 cm. Ed.6 + AP

  • Landpartie #

    Landpartie #, 2008

    C-Print on aluminium, 112 x 150 cm. Ed.3 + AP

  • Landpartie #a

    Landpartie #a, 2008

    C-Print on aluminium, 112 x 150 cm. Ed.3 + AP

  • Landpartie

    Landpartie, 2008

    C-Print on aluminium, 112 x 150 cm. Ed.3 + AP

  • Landpartie Ic

    Landpartie Ic, 2008

    C-Print on aluminium, 90 x 120 cm. Ed.3 + AP

  • Landpartie Id

    Landpartie Id, 2008

    C-Print on aluminium, 90 x 120 cm. Ed.3 + AP

  • Landpartie 0

    Landpartie 0, 2009

    C-Print on aluminium, 90 x 120 cm. Ed.3 + AP

  • Landpartie II

    Landpartie II, 2009

    C-Print on aluminium, 112 x 150 cm. Ed.3 + PA

  • Landpartie If#

    Landpartie If#, 2008

    Vídeo, 1'40'' (loop). Ed.6 + AP


Cristina Martin Lara’s work has always had at the centre of its attention the reflection on that undefined place that exists between the real world and the oneiric world, with the latter being a source of creation for our memory and, at the same time, driving its force from it. Far from being a residual space, it is occupied by feelings belonging to various territories, and which generate emotions.
The disrupted character of visualizing these memories as apparently unconnected images and flashes in our mind is being reflected in the iconographic sequence presented by the artist. Each image – photo or video, as the artist captures it from a balanced perspective, which does not interfere at all with the static or dynamic condition - opens a window to an emotional moment triggered by an environmental circumstance, being of no importance whether the image is a consequence of the state of wakefulness or belongs to the sphere of the oneiric world. In fact, drawing a line between these two spheres sometimes proves to be difficult.
Having as a starting point the photography that makes reference to the Paulov’ experiment about the conditioned reflexes, Cristina Martin Lara creates a work that needs to be considered at an individual, as well as a general level; a proposal of a puzzle whose pieces, from her perspective, fit in like this, but, at the same time, remains free to be manipulated according to the viewer’s suggestions or whishes, being guided only by a subtle narrative.
Each of these photographs and videos – the medium is in this case a mere vehicle, never an end – reveals a concept, once obtained the image that transmits it. As a result, it turns into an independent installation, which makes the viewer vacillate between identifying with the character and placing him/herself in the shoes of the artist. The lyrical density of each of these installations is not at all inferior to its questioning nature to our most intimate spheres. As the artist puts it, it is about “a communication crutch”, at three different levels: artist-work-viewer, in search of the catharsis.
Characters find themselves in difficult to overcome circumstances – they are faced with impassible barriers at every step -, between an alienating collectivization and a radical individualism; it’s obvious that the balance turns to the latter. This would be the stance where one can only be sure of the existence of his/her own mind, and, as a result, of his/her own existence; outside reality thus becomes understandable only judged from the “I” perspective. This reasoning links up to the Cartesian methodical issue, with an extreme interpretation in the Hypothesis of the Evil Genius, believed to be God who created us imperfect and easy to be deceived, as we are when we think we know the truth but actually are mistaken. Everything is questionable, except for the “cogito ergo sum”, one of the groundwork of the western rationalism. The most curious paradigm in our culture is the Calderon´ Segismundo : is our existence real or is this only a dream? Sometimes, dreams may appear to be more real than life itself, and this is a judgment that, as incredible as it may sound, seizes children at an early age. This is human mind. Plato’s myth of the cavern, an allegory about the human being’s situation towards his knowledge of the sensitive and intelligible world, explains the origin of the judgment about this duality, which generates a dilemma present in all the eastern philosophies from Buddhism to Taoism passing through the Zen and Hindu ones.
Landpartie is a continuation of the project with the same name started in 2008, and following the artist’s usual guidelines on its development, which consists of several exhibitions over the years. The meaning of the term makes reference to an escape to the countryside for a rest and in order to flee from our daily reality. In its wider meaning, it refers to the search for new sensations, helping us to get out of our usual physical and emotional environment, to stimuli that we perceive and that make us free our emotions. It is about an escape in the pursuit of a deeper and better knowledge of our limits and possibilities as human beings.


© 2011 Isabel Hurley