Landscape Is A Verb (Imported)

"Some things are kind of criminal to move - like seashells found on beaches and very rare flowers found in valleys or jungles. Other things are only seemingly that... kind of criminal to move - like fruit and vegetables across the Atlantic. Moving 50 coconuts, although in concrete and plaster, seems like a fragile idea. Some things are impossible to move - like the first sip of a sugar cane market shot. Can you move an island in a disc-shaped fridge-magnet. And store it forever on a numb surface? Some things make sense to move - like Cuban stamps sucking on sunbleached postcards reaching friends two months past your own arrival. And so very rare flowers moved closer anyway. Some things are tempting to move - like beauty. And so you test moving beauty across time zones. Test if beauty bends when beauty moves. Really a test to test if beauty translates into future times as we move in fast forward. Because one thing moves on its own. Time does not care about your yesterday." The exhibition 'Landscape is a Verb (Imported) centers around the use and consumption of naturalistic imagery and the exchange of beauty, featuring works that originate from Lydért and Nystrup-Larsen ́s residency in Havana, Cuba, earlier this year. As a choir, the paintings form a bouquet of distorted flowers, motifs accumulated from manipulations of Cuban stamps. By copying, imitating and conserving The Landscape, the works pose as souvenirs for the future, paying an homage to nature, the ultimate beauty ideal. One that is meant simultaneously to please and spark discomfort. Extending from Lydért and Nystrup-Larsen’s working concept ‘Import/export’, the works are imported from their original context in Cuba to the Copenhagen gallery. Here, they pose alongside placeholders, proxies, of other works, shown alongside the paintings in the Cuban install, the exhibition making visible what can be transferred and what is lost. Catch the suggestion - to make it one´s objective to create accounts of fading beauty. Art conservators getting their hands dirty. Knees green from the sublime. Test artistic practice as documentation, documentation as practice. Import /export this idea Or a distorted flower moment Stored in the 2-dimensional Immortalised with sun block ultra Enter installation: nature pastiche - and know that nature is the only artwork that needs to be copied. See it tied up on centre stage acting courages under bondage mariposa puma in an AI glass cage Smells like honey and heavy like national anthems Enter room of souvenirs. To smell the nostalgia incense toasting on the insides of your mind. Only. Breathe in air freshener. Ocean breeeeeeeze promises. Out. Coco, Call them relics - objects made to survive this time; made to outlive the phenomena they each represent. Coco, recall your sentimental interest. In bio. Enter plastic echo of landscapes. Understand that ghost prints are exhausted versions of reality Play the simulated sun - as it rises and sets two times each hour. Repeat. And know that in landscaping; the result to the equation is always (in) the horizon. Hold on to this image. Forever. Think about: Reproducing beauty Recycling Beauty Maintaining beauty Immortalising beauty Narrating beauty Owning beauty? See it executed behind plexi and jokes Exit room of synthetic reproductions Count the repetitions under their tongue as you continue to conzoooome. Import / export the ideal landscape The perfect keepsake For a romantic era lived in acid hungover bodies Fridge magnet memory filed under “picturesque tradition” Exit luxury shop And forget your innocence. Blow out expensive incense and deal.