Português
Feco Hamburger’s exhibition “À Tona” brings together three works – Endoscopia Tokyo Bonito, the series Cavernas, and Pulmão – developed between 2009 and 2012, which close a cycle of the São Paulo artist’s study and interest in the discovery and formation of image.
The exhibit is placed in a setting of controlled lighting (the narrow corridor on the first floor) in which photos, a video and a projection will be displayed to a public in motion, revealing intriguing images beyond the employed photographic mechanism.
The video “Pulmão”, 2009 (2012 Brazil Photography Award | Mention) presents the inside of a cave that appears to light up and darken in a cyclical rhythm. The image is created through the digital video animation of the same photograph edited in different light contrasts. The linear and gradual variation of the curve of contrast composes a loop of animated images at 24 frames per second, thus creating this cadence. The video is watched with noise-cancelling headphones which engage spectators and allow them to notice their own breathing, establishing a dialogue between the image and their bodies.
The photos in the series “Cavernas”, 2009-2012 (2012 Brazil Photography 2012 | Mention), were captured in the darkness of the speleological area in southern São Paulo state and later printed in a single color on a reflective surface. This technical solution provided by Hamburger makes it so that the impressions are only visible in direct light and from a perspective aligned with the focus of the image. The works are therefore completed with the physical participation of the spectator who structures this relationship by moving.
The brand new installation “Endoscopia Tokyo Bonito” (2012) consists of a video projection aimed toward the floor, where a circular black plate of water reflects it on the wall of the exhibition space. The recording is a string of almost abstract images of a reflecting pool and eels in a garden. They are presented by the artist as reflections on situations of porosity and crossings which seek to provoke questions regarding its origins and the processes that generated it.
Citing Cildo Oliveira, curator of 2012 Brazil Photography Award, “Feco Hamburger develops his work on various levels of perception and intersection, demanding permanent visual, mental and physical attention in order to decode its meanings. The representation of image, the light, the time, the movement peruse the creative genesis in the sense of a sensorial discovery in the exploration of the work.”
Hamburger’s interest in the relationship between the technical processes that form the image and the concepts of latency and presence began in 2004 with the project “Noites em claro” with photos of long exposure which allow for the accumulation of existing light. It can also be seen in such other works as “Neutrino” (2010), “Bocado” (2011), “Ingredientes e Tricot” (2011) and “Episódios” (2011). The study continues in his present works on display in which the manipulation of production and the interactive nature of the exhibit are combined. This process dispenses with any time for reflection on the essence of the image’s formation or reminiscences, ending with the experience itself being the definitive bond of the work.
The exhibition opens on April 6th and runs until May 4th as part of the program “PIVÔ PRODUCTIONS,” which promotes the examination, development and publicity of contemporary creators working in Brazil and abroad, and with a focus on exhibition and bringing the public closer to the artists’ creative processes.
Feco Hamburger’s exhibition “À Tona” brings together three works – Endoscopia Tokyo Bonito, the series Cavernas, and Pulmão – developed between 2009 and 2012, which close a cycle of the São Paulo artist’s study and interest in the discovery and formation of image. The exhibit is placed in a setting of controlled lighting (the narrow corridor on the first floor) in which photos, a video and a projection will be displayed to a public in motion, revealing intriguing images beyond the employed photographic mechanism.
The video “Pulmão”, 2009 (2012 Brazil Photography Award | Mention) presents the inside of a cave that appears to light up and darken in a cyclical rhythm. The image is created through the digital video animation of the same photograph edited in different light contrasts. The linear and gradual variation of the curve of contrast composes a loop of animated images at 24 frames per second, thus creating this cadence. The video is watched with noise-cancelling headphones which engage spectators and allow them to notice their own breathing, establishing a dialogue between the image and their bodies.
The photos in the series “Cavernas”, 2009-2012 (2012 Brazil Photography 2012 | Mention), were captured in the darkness of the speleological area in southern São Paulo state and later printed in a single color on a reflective surface. This technical solution provided by Hamburger makes it so that the impressions are only visible in direct light and from a perspective aligned with the focus of the image. The works are therefore completed with the physical participation of the spectator who structures this relationship by moving.
The brand new installation “Endoscopia Tokyo Bonito” (2012) consists of a video projection aimed toward the floor, where a circular black plate of water reflects it on the wall of the exhibition space. The recording is a string of almost abstract images of a reflecting pool and eels in a garden. They are presented by the artist as reflections on situations of porosity and crossings which seek to provoke questions regarding its origins and the processes that generated it.
Citing Cildo Oliveira, curator of 2012 Brazil Photography Award, “Feco Hamburger develops his work on various levels of perception and intersection, demanding permanent visual, mental and physical attention in order to decode its meanings. The representation of image, the light, the time, the movement peruse the creative genesis in the sense of a sensorial discovery in the exploration of the work.”
Hamburger’s interest in the relationship between the technical processes that form the image and the concepts of latency and presence began in 2004 with the project “Noites em claro” with photos of long exposure which allow for the accumulation of existing light. It can also be seen in such other works as “Neutrino” (2010), “Bocado” (2011), “Ingredientes e Tricot” (2011) and “Episódios” (2011). The study continues in his present works on display in which the manipulation of production and the interactive nature of the exhibit are combined. This process dispenses with any time for reflection on the essence of the image’s formation or reminiscences, ending with the experience itself being the definitive bond of the work.
The exhibition opens on April 6th and runs until May 4th as part of the program “PIVÔ PRODUCTIONS,” which promotes the examination, development and publicity of contemporary creators working in Brazil and abroad, and with a focus on exhibition and bringing the public closer to the artists’ creative processes.