Feco Hamburger: Eclipse - Janaina Torres

São Paulo Brasil

Feco Hamburger

Eclipse

An expert galaxy builder, Feco Hamburger expands his poetic universe in Eclipse, a solo exhibition in which he reaffirms his interest in exploring the limits of the photographic language, creating worlds instead of reproducing them. Besides gazing on nature and science, a recurrent act in his work, Feco directs his restlessness and experimentation to the everyday and the domestic, and to the use of color – an element in which he is completely at ease.

JUN 09・JUL  23 2022

Curator: Ícaro Ferraz Vidal

VIEWS

WORKS

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Eclipse 7

Feco Hamburger
Eclipse 7, 2022
Jato de tinta sobre papel de algodão
100 x 150 cm

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Eclipse 1 a 6

Feco Hamburger
Eclipse 1 a 6, 2022
Jato de tinta sobre papel de algodão
24 x 32 cm

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Star Trail

Feco Hamburger
Star Trail, 2022
Jato de tinta sobre papel de algodão
170 x 37 cm

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An astronomical event – the eclipse – provides a beautiful allegory of what is going on in Feco Hamburger’s experimental creative space, which continually misaligns its gaze in relation to the world, speculating eclipses that are invisible to most of us.

— Ícaro Ferraz Vidal Jr., curator

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Anhumas I e II

Feco Hamburger
Anhumas I e II , 2022
Jato de tinta sobre papel de algodão
25.50 x 34 cm

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Iridescência 1

Feco Hamburger
Iridescência 1, 2022
Jato de tinta sobre papel de algodão
100 x 75 cm

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Iridescência 3

Feco Hamburger
Iridescência 3, 2022
Jato de tinta sobre papel de algodão
40 x 26.60 cm

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Iridescência 2

Feco Hamburger
Iridescência 2, 2022
Jato de tinta sobre papel de algodão
20 x 26.50 cm

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Miscibile 1 a 6

Feco Hamburger
Miscibile 1 a 6, 2022
Jato de tinta sobre papel de algodão
53 x 40 cm

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Ovo Galado

Feco Hamburger
Ovo Galado, 2022
Jato de tinta sobre papel de algodão
60 x 45 cm

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Trovão 1

Feco Hamburger
Trovão 1, 2022
Jato de tinta sobre papel de algodão
23 x 18 cm

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Trovão 2

Feco Hamburger
Trovão 2, 2022
Jato de tinta sobre papel de algodão
23 x 18 cm

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12 poses

Feco Hamburger
12 poses, 2022
Impressão UV sobre polietileno PETG, aço inox e presilha
71 x 6 x 8 cm

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Presente 1

Feco Hamburger
Presente 1, 2022
Jato de tinta sobre papel de algodão, inox, lente e acetato
6.50 x 2 cm

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Xingu Áries

Feco Hamburger
Xingu Áries, 2020
Jato de tinta sobre papel algodão
100 x 100 cm

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Quase meia noite - Andromeda

Feco Hamburger
Quase meia noite – Andromeda, 2020
Resina acrílica e pigmento de alumínio sobre ACM
126 x 96 x 4 cm

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Moby Dick 02 (Série Eppur si Muove)

Feco Hamburger
Moby Dick 02 (Série Eppur si Muove), 2018
Impressão jato de tinta sobre papel de algodão
90 x 150 cm

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Mirada 16 (Série Miradas)

Feco Hamburger
Mirada 16 (Série Miradas), 2019
Pigmento sobre papel de algodão e lente Fresnel
30 x 30 x 8 cm

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Hayabusa ou o Falcão Peregrino (Série Eppur si Muove)

Feco Hamburger
Hayabusa ou o Falcão Peregrino (Série Eppur si Muove), 2018
Impressão jato de tinta sobre papel de algodão
100 x 150 cm

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BIO

Over the course of a consistent career spanning more than 20 years, with works in the collection of the Pinacoteca do Estado de São Paulo, the Itaú Collection of Brazilian Photography and the National Library of France, Hamburger has drawn attention to the speculative nature of photography, using photographic devices, processes and protocols to model the world, rather than just recording it. Although born from and marked by an exploration of the limits of photographic language and technique, Hamburger’s poetics overflow the specificities of this language, fluidly entering the speculative and flowing field of contemporary image production. As the critic and curator Ícaro Ferraz Jr. puts it, these are works that are born by precipitation, with no reality prior to the action of the artist-alchemist, who creates the solutions in which they come into existence.

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Thus, images are obtained as the residue of processes, in a myriad of elements: rays of light, apparatus and gadgets, printers, papers, displays, scanners, water, oil, soap, sprays, etc. “Feco Hamburger’s use of photography brings him closer to figures such as Eadweard Muybridge and Étienne-Jules Marey who, with their studies of movement, pioneered the use of the photographic image as an instrument of knowledge, beyond the documentary, expressive and representational potential of the new optical technology. Hamburger’s images are born of a similar impulse: the artist doesn’t predict or calculate most of the phenomena we see in his works. For this reason, his poetics are an incessant source of wonder, summoning us to the difficult experience of seeing for the first time, in an age marked by an avalanche of images that domesticates the gaze, reducing vision to recognition,” he defines.

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