Daniel de la Barra
Bio/CV
Available works
Daniel de la Barra
Daniel de la Barra
Lima, Peru (1992)
His work moves between painting, installation and public intervention, his research seeks a horizontal deployment of critical observations based on extensive documentary work. Daniel de la Barra talks about the crisis of the gaze on nature, the representation of the landscape as an extractive process and the points of friction between image, history and modernity.
His work moves between painting, installation and public intervention, his research seeks a horizontal deployment of critical observations based on extensive documentary work. Daniel de la Barra talks about the crisis of the gaze on nature, the representation of the landscape as an extractive process and the points of friction between image, history and modernity.
Bio/CV
Daniel de la Barra
His work moves between painting, installation and public intervention, his research seeks a horizontal deployment of critical observations based on extensive documentary work. Daniel de la Barra talks about the crisis of the gaze on nature, the representation of the landscape as an extractive process and the points of friction between image, history and modernity.
His multidisciplinary work gives us the opportunity to investigate the colonial conflicts that have relegated nature to a subaltern space of exploitation and domination and to compose an exercise of countervisuality that reflects, from a global perspective, on the representation of the landscape as an extractive and exercise of power. Her work materializes in anti-landscape exercises through socio-environmental violence against neo-extractivism through a political and historical journey, reminiscent of botanical expeditions that reinforce the ways of looking at the natural; as a landscape of conquest.
His multidisciplinary work gives us the opportunity to investigate the colonial conflicts that have relegated nature to a subaltern space of exploitation and domination and to compose an exercise of countervisuality that reflects, from a global perspective, on the representation of the landscape as an extractive and exercise of power. Her work materializes in anti-landscape exercises through socio-environmental violence against neo-extractivism through a political and historical journey, reminiscent of botanical expeditions that reinforce the ways of looking at the natural; as a landscape of conquest.
Available works
Daniel de la Barra
Lima, Peru (1992)
His work moves between painting, installation and public intervention, his research seeks a horizontal deployment of critical observations based on extensive documentary work. Daniel de la Barra talks about the crisis of the gaze on nature, the representation of the landscape as an extractive process and the points of friction between image, history and modernity.
His work moves between painting, installation and public intervention, his research seeks a horizontal deployment of critical observations based on extensive documentary work. Daniel de la Barra talks about the crisis of the gaze on nature, the representation of the landscape as an extractive process and the points of friction between image, history and modernity.
Daniel de la Barra
His work moves between painting, installation and public intervention, his research seeks a horizontal deployment of critical observations based on extensive documentary work. Daniel de la Barra talks about the crisis of the gaze on nature, the representation of the landscape as an extractive process and the points of friction between image, history and modernity.
His multidisciplinary work gives us the opportunity to investigate the colonial conflicts that have relegated nature to a subaltern space of exploitation and domination and to compose an exercise of countervisuality that reflects, from a global perspective, on the representation of the landscape as an extractive and exercise of power. Her work materializes in anti-landscape exercises through socio-environmental violence against neo-extractivism through a political and historical journey, reminiscent of botanical expeditions that reinforce the ways of looking at the natural; as a landscape of conquest.
His multidisciplinary work gives us the opportunity to investigate the colonial conflicts that have relegated nature to a subaltern space of exploitation and domination and to compose an exercise of countervisuality that reflects, from a global perspective, on the representation of the landscape as an extractive and exercise of power. Her work materializes in anti-landscape exercises through socio-environmental violence against neo-extractivism through a political and historical journey, reminiscent of botanical expeditions that reinforce the ways of looking at the natural; as a landscape of conquest.