Hidrante is pleased to present Orillar el horizonte, a group exhibition for NADA New York 2025 centered around diverging interpretations of landscape, showcasing works by G. Rosa Rey, Javier Orfón, nibia pastrana santiago, and Ricardo Cabret. Through painting, photography, sculpture, and video performance, the artists in this presentation approach landscape as a conceptual framework to map questions about memory, ecomodernism, and land rights and usage.

G. Rosa-Rey's (b. 1955, Puerto Rico) paintings and drawings evoke internal terrains of consciousness, etching a metaphor for an intimate pulsation of knowing. Informed by historical sources and memories, these story-terrains evoke an imaginary elsewhere not bound by territory or geography– an in-between place amidst the Caribbean and diaspora. Rosa-Rey can delink herself from an identitarian value system in this geography and instead embody an opaque margin.

Javier Orfón's (b. 1989, Puerto Rico) practice, working through drawings, paintings, sculptures, and installations, is inspired by topophilia, a strong sense of place encompassing a particular space's sensations and aesthetic experiences. His knowledge and connection to the sites guide his multidisciplinary research through geography, anthropology, ecology, architecture, and oral history. This research nourishes his practice of creating atemporal archeologies of the inquired site, in which he explores the human condition, nature, the anthropogenic impact, memory, otherness, landscape, and globalization.

Trained in dance and improvisation, nibia pastrana santiago (b. 1987, Puerto Rico) develops site-specific "choreographic events" to experiment with time and notions of territory, fiction, laziness, eroticism, and tourism. pastrana santiago utilizes site specificity and choreography as a lens to apprehend the organization and manifestation of things in the world in relation to time and space. Considering choreography as the organization of bodies in space and time, her choreographic events draw attention to the intersecting economic, political, and social dynamics contained in contested sites such as colonial monuments, ruined theaters, and places of mass circulation.

Ricardo Cabret's (b. 1985, Puerto Rico) practice uses painting and software to unravel the tensions between technology and humans' relationship to the landscape, referencing complex computing systems while obscuring depictions of places and references to memories of Puerto Rico, allowing the two spheres of practice to inform each other. Cabret's translucent grids and colored forms divert from a proper vantage point and present a mathematical perspective. Intrigued by the technological infrastructures embedded in the landscapes of Puerto Rico and, by extension, the world—as well as their environmental, cultural, and fiscal repercussions–revealing the entanglement between human and machine, body and land, Cabret's paintings archive and make visible technological structures and networks that have become blueprints for exploitative development.