Paisaje
Alfred Briquet, Mitzi Falcón, Pedro Figari, Gabriel Figueroa, Juan de Mata Pacheco, Nicolás Moreno, Fernando Nureña, SEFT-1,
Melanie Smith, Francisco Toledo, José María Velasco
Galerie Pepe is pleased to present Paisaje an exhibition curated by Dexter Dalwood with works by artists Alfred Briquet (FR, 1833-1926), Mitzi Falcón (MX, b. 1995), Pedro Figari (UY, 1861-1938), Gabriel Figueroa (MX, 1907-1997), Juan de Mata Pacheco (MX, 1874-1956), Nicolás Moreno (MX, 1923-2012), Fernando Nureña (PE, b. 1993), SEFT-1 (Iván Puig MX, b.1977 & Andrés Padilla Domene MX, b.1986), Melanie Smith (UK, b. 1965), Francisco Toledo (MX, 1940-2019), José María Velasco (MX, 1840-1912). February 3rd - March 28th, 2026.
In the mid-19th century, Latin American landscape painting underwent a profound transformation. Moving away from the European Romantic tradition—characterised by its dramatic, idealised, and often non-specific depictions of nature—artists across the region began embracing a more documentary and observational approach. This shift marked a growing interest in scientific accuracy and the specificities of place, rather than abstract notions of the sublime or purely aesthetic topography.
In Mexico, José María Velasco emerged as a central figure in this transition. His work is notable not only for its technical sophistication but for its capacity to bridge the historical with the contemporary. Velasco portrayed the landscape as both a subject of natural beauty and a site of political and cultural significance, capturing the dual forces of disappearance and renewal that shape both nature and nationhood. His legacy laid important groundwork for successive generations of artists to view the landscape not as a backdrop, but as an active and contested space.
Paisaje takes inspiration from this historical pivot to explore how artists, photographers, and filmmakers across Latin America continue to engage with the landscape as a vital and politically charged genre. Far from being a neutral or passive setting, land becomes a conceptual arena, a space through which to examine themes of memory, displacement, belonging and environmental change.
In the mid-19th century, Latin American landscape painting underwent a profound transformation. Moving away from the European Romantic tradition—characterised by its dramatic, idealised, and often non-specific depictions of nature—artists across the region began embracing a more documentary and observational approach. This shift marked a growing interest in scientific accuracy and the specificities of place, rather than abstract notions of the sublime or purely aesthetic topography.
In Mexico, José María Velasco emerged as a central figure in this transition. His work is notable not only for its technical sophistication but for its capacity to bridge the historical with the contemporary. Velasco portrayed the landscape as both a subject of natural beauty and a site of political and cultural significance, capturing the dual forces of disappearance and renewal that shape both nature and nationhood. His legacy laid important groundwork for successive generations of artists to view the landscape not as a backdrop, but as an active and contested space.
Paisaje takes inspiration from this historical pivot to explore how artists, photographers, and filmmakers across Latin America continue to engage with the landscape as a vital and politically charged genre. Far from being a neutral or passive setting, land becomes a conceptual arena, a space through which to examine themes of memory, displacement, belonging and environmental change.
Pedro Figari
Visión de troglodita, ca. 1916
Oil on board
40 x 70 cm,
15 3/4 x 27 1/2 in
(PF-01)
Mitzi Falcón
Blanco sucio, 2024
LightJet print
14.7 x 22 cm,
5 3/4 x 8 5/8 in
Edition 1 of 3
(MF-02)
Mitzi Falcón
Choque negro, 2024
LightJet print
14.7 x 22 cm
, 5 3/4 x 8 5/8 in
Edition 1 of 3
(MF-03)
José María Velasco
Vista del Valle de México, 1882
Oil on canvas
18 x 30 cms
(JMV-003)
Francisco Toledo
Estación de tren maya abandonada, 2019
Gouache and mineral mica on paper
71 x 99 cm
, 28 x 39 in
(FT-01)
Alfred Briquet
Vista del Puente de Metlac, Longitud 450 pies _ Altura 92 pies, 1872-1875
Albumen print mounted on board
20.4 x 26.1 cm,
8 x 10 1/4 in
(AB-020)
José María Velasco
Cerro de las Campanas, 1902
Oil on canvas
46 x 62 cm
, 18 1/8 x 24 3/8 in
(JMV-001)
Mitzi Falcón
La sombra del país dormido, 2024
LightJet print
14.7 x 22 cm
, 5 3/4 x 8 5/8 in
Edition 1 of 3
(MF-04)
Fernando Nureña
Sin título (A partir de Mariano Chillihuani, El hombre pequeño, Ocongate, Cusco 1987 II), 2024
Oil on linen
30 x 40 cm
, 11 3/4 x 15 3/4 in
(FN-02)
SEFT-1 (Iván Puig & Andrés Padilla Domene)
Puente Wimmer, Cumbres de Maltrata, Veracruz, 2011
Inkjet print
21.5 x 31.8 cm,
8 1/2 x 12 1/2 in
Edition 1 of 5
(SFT-03)
Juan de Mata Pacheco
Sin título, 1903
Oil on canvas
41.6 x 53.2 cm
16 3/8 x 21 in
(JMP-01)
Nicolás Moreno
Ladrillera, 1963
Oil on canvas
50 x 95 cm,
19 3/4 x 37 3/8 in
(NM-01)
Pedro Figari
Envidia, ca. 1917
Oil on board
39 x 40 cm,
15 3/8 x 15 3/4 in
(PF-02)
Gabriel Figueroa
Un cielo de Gabriel Figueroa (María Candelaria), 1943
Giclée print
29 x 38.5 cm,
11 3/8 x 15 1/8 in
Edition 3 of 50
(GF-01)
Mitzi Falcón
Así nacen las nubes, 2024
LightJet print
14.7 x 22 cm,
5 3/4 x 8 5/8 in
Edition 1 of 3
(MF-01)
José María Velasco
Sin título, 1910
Oil on card
9.5 x 14 cm,
3 3/4 x 5 1/2 in
(JMV-004)
Melanie Smith
Xochimilco, 2025
HD Video
16:9
9'28"
Edition of 1 + 1 AP
(MS-01)
Fernando Nureña
La Oroya, 2026
Oil on linen
32 x 40 x 3 cm,
12 5/8 x 15 3/4 x 1 1/8 in
(FN-01)
SEFT-1 (Iván Puig & Andrés Padilla Domene)
SEFT-1 en Cumbres de Maltrata, 2010
Inkjet print
21.5 x 31.8 cm,
8 1/2 x 12 1/2 in
Edition 1 of 5
(SFT-02)
SEFT-1 (Iván Puig & Andrés Padilla Domene)
SEFT-1 en Puente de Metlac, 2011
Inkjet print
21.5 x 31.8 cm, 8 1/2 x 12 1/2 in
Edition 1 of 5
(SFT-01)
Dexter Dalwood
Paisaje, 2025
Oil on canvas
20 x 40 cm, 7 7/8 x 15 3/4 in
(DD-01)
Dexter Dalwood (born Bristol, UK) is a British painter known for his history-inspired works and long international career, now living and working in Mexico City. He studied at Saint Martin’s School of Art and the Royal College of Art, and was previously a punk bass player before establishing himself in contemporary art. In 2025 he co-curated José María Velasco: A View of Mexico at the National Gallery in London, the institution’s first major show dedicated to a historic Latin American artist, bringing Velasco’s 19th-century landscapes to a European audience. His work often blends historical narrative with visual speculation, reflecting on how memory and history shape our understanding of place and time.
Amsterdam 123 B, Col. Hipódromo CondesaMexico City, Mexico 06100