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Exhibition at Celaya Brothers Gallery addresses the tensions between nature and modernity
Estratos I.

by Jorge Villacorta


MEXICO CITY.- Celaya Brothers Gallery is presenting Topografías Insostenibles (Unsustainable Topographies) by Peruvian artist Camila Rodrigo, which addresses the tensions between nature and modernity.

Current mentalities aim to comprehend the strata of reality without mapping the interpenetration of the sustainable and the unsustainable. Without defining precise fields of signification, the works of Camila Rodrigo use sculpture, photography and photocopy to install an intentionally incomplete system, marked by breaches and gaps as a simulation of a process of unlearning.

Camila Rodrigo’s recent works articulate visual and spatial situations that are strained by the uses and abuses of man in the material world. Rodrigo’s interest has shifted towards the obsessive recognition of this mark’s invasive interventions, through the aggregation and manipulation of manufactured elements.

There is a state of previous imbalance that her perception detects and that hinders the understanding of how the coexistence of unified things might occur. Nothing flows in these liquid times: everything trickles away. New rhythms constantly strike and overlap pre-existing ones, and create transformations that go from physical changes to mental projections. We live among depths, perforations, containment, produced by our imagination, drawn from what we increasingly identify as foreign in the world.

Rodrigo’s gaze covers the result of erosion, of what we consider “natural,” and gathers data with which she later creates new topographies. She identifies outlines that - while remaining distinctive of the matter - can be interpreted as arbitrary, incomprehensible, disjointed from our daily life.

Current mentalities seek to comprehend the strata of what is real without mapping the interpenetration of the sustainable and unsustainable. Without specifying areas of precise meaning, Camila Rodrigo’s artworks rely on sculpture, photography and photocopy to install an intentionally incomplete system, marked by gaps and voids, to simulate an unlearning process.

Camila Rodrigo (Lima, Peru, 1983) works with photography, sculpture and installation to reflect on the effects of erosion and wear, focusing on the idea of progress as a (de)construction, a contrast between past and future. Her images examine the passage of time, the transformation of the natural space parallel to the reorganization of society. Rodrigo studied Photography at the Centro de la Imagen in Lima, Peru. In 2009, she did a Master in Photography and Visual Arts at Naba University in Milan, Italy. In 2010, she was selected as part of Regeneration: 70 best young photographers around the world, created by the Musée de l’Elysée in Lausanne, and later was a finalist in the Lacoste Elysée Prize. In 2014, she did the Master’s Mal de Foco: Latin American Photography at Centro de la Imagen in Peru. Her projects have been exhibited at the National Museum of Lima, in Peru; the Museum Rosphoto in St. Petersburg, Russia; the Musée de L’Elysée in Lausanne, Switzerland, and the Palais de l’Árchevéché in Arles, France. She has also exhibited her work in galleries in Lima, Mexico City, London, New York, Amsterdam, Barcelona, and Milan, among others.





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