1.0RÍO & MEÑAKAhttps://riomenaka.com/en/Wecollect_admhttps://riomenaka.com/en/author/wecollect_adm/rich600338<blockquote class="wp-embedded-content" data-secret="uIYNpwtPvS"><a href="https://riomenaka.com/en/exhibitions/thinking-a-landscape/">Thinking a Landscape</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://riomenaka.com/en/exhibitions/thinking-a-landscape/embed/#?secret=uIYNpwtPvS" width="600" height="338" title="“Thinking a Landscape” — RÍO & MEÑAKA" data-secret="uIYNpwtPvS" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://riomenaka.com/wp-includes/js/wp-embed.min.js </script> https://riomenaka.com/wp-content/uploads/2024/12/Regina-Gimenez-Javier-Martin-Jimenez.jpg20001333The Catalan artist Regina Giménez (Barcelona, 1966) constructs her work through the appropriation and transformation of elements extracted from their original contexts, such as old textbooks, blank maps, and publications on geography and cosmology. Giménez generates a linguistic rupture that transcends the pedagogical and the scientific, creating unique artistic compositions. Her work delves into the aesthetic and formal aspects of these graphic representations, producing a visual universe of vibrant colors and geometric forms marked by simplicity and symbolism. With the series “Thinking a Landscape”, Regina Giménez makes a playful nod toward the desacralization of art, emphasizing its ludic dimension. These acrylic pieces clearly reference plastic templates of circles, ellipses, and other regular shapes, used by children across generations to draw outlines and compositions without any instructions. They invite viewers to connect familiar ideas and images. While some references evoke childhood memories, others recall primitive visual representations based on simple natural forms or the geometric, planar figures of early 20th-century European avant-garde movements. The series creates a symbolic and semiotic game where shapes—whether recognized or not—spark associations with other ideas or appearances (a cloud may become a body, a sun a face, a house a robot, etc.). As in her previous works, Giménez encourages a sense of disorder to give rise to limitless combinations of outlines, repetitions, reflections, mirror effects, and inversions. In 2018, she created the piece "El sol i la taula" (The Sun and the Table), acquired by the Museo Reina Sofía in 2024. This was the first time she worked with acrylic—a sheet in A4 format with rounded corners, perforated with geometric profiles. In that piece, the orange-toned designs referenced astronomy. The series “Thinking a Landscape” consists of two independent green templates featuring dynamic compositions that blend large and small elements, with designs repeated at various scales. One template includes three sizes of a house, three sizes of a tree crown, three sizes of a sun, and three sizes of a hill. The other features three sizes of mountains, three sizes of moons, three sizes of raindrops, and three sizes of clouds. These highly synthetic yet widely recognizable symbols evoke the classical idea of landscape—one of the most enduring genres in art history. Simultaneously, the artist establishes universal dialogues between abstraction and figuration, color and monochrome, wholeness and fragmentation. In this way, Giménez proposes infinite compositions through combinations of these shapes, creating unique works that showcase her mastery of form and her ability to provoke new interpretations and meanings. The series * “Thinking a Landscape” also invites collectors to engage in this creative exercise: with just two simple nails, the templates can be removed from the wall for use beyond mere observation. The artist herself uses these templates to produce original works. For those less inclined to engage with them playfully, the templates still offer opportunities for reinterpretation. Owners can flip each template horizontally (their translucence allows them to be viewed from either side), swap their positions if owning more than one, or arrange them systematically or irregularly on the wall, depending on their mood. Javier Martín-Jiménez