1.0Belmontehttps://galeriabelmonte.com/en/rich600338<blockquote class="wp-embedded-content" data-secret="AxwZEuGwPq"><a href="https://galeriabelmonte.com/en/artista/augusta-lardy/">Augusta Lardy</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://galeriabelmonte.com/en/artista/augusta-lardy/embed/#?secret=AxwZEuGwPq" width="600" height="338" title="“Augusta Lardy” — Belmonte" data-secret="AxwZEuGwPq" 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); </script> https://galeriabelmonte.com/wp-content/uploads/2023/11/66af5473-66eb-4e10-8c93-909c18ddb2f5.jpg12001600Augusta ́s work addresses the transitivity of being, the subjectivity of the gaze and the sublime. She proposes soft terror Sublime as anthropocenic operational aesthetics. First, she examines what constitutes the unspoken power of the image and the pre objectual existence of a composition. She asks: what is the metaphysical evolution of an object or feeling as they endure through time and space? Lardy wonders how the