{"id":43193,"date":"2026-07-09T16:16:09","date_gmt":"2026-07-09T16:16:09","guid":{"rendered":"https:\/\/galeriehugodufon.com\/?page_id=43193"},"modified":"2026-07-23T02:53:08","modified_gmt":"2026-07-23T02:53:08","slug":"antonio-imedio-felipe-barreiro","status":"publish","type":"page","link":"https:\/\/galeriehugodufon.com\/es\/exhibitions\/antonio-imedio-felipe-barreiro\/","title":{"rendered":"Antonio Imedio Felipe barreiro"},"content":{"rendered":"
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Antonio Imedio
& Felipe Barreiro<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Pactos con sombras y fantasmas<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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July 11 \u2013 Sept 12 , 2026
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text by William Contreras, curator<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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El ruido sordo de unas cerezas rodando sobre una mesa. La sensaci\u00f3n tibia de un cuerpo\nque acaba de abandonar la cama. Alguien movi\u00e9ndose detr\u00e1s de una puerta. La certeza de\nalgo que no alcanzamos a ver, pero intuimos por una sombra, un sonido o una variaci\u00f3n\ncasi imperceptible de la luz. No son apariciones extraordinarias, y sin embargo, parecieran\nrebasar las certezas comunes.<\/p>

La pintura ha sido \u00fatil para dar forma a esa incertidumbre, no traduce con fidelidad el\nmundo, pero acompa\u00f1a al espectador ampliando su mirada, su entrega a la percepci\u00f3n.\nFrente a una pintura siempre debemos mirar de nuevo: escuchar con los ojos, tocar con la\nmirada, reconocer texturas que pertenecen tanto a la memoria como a la materia. La\nimagen pict\u00f3rica propone una experiencia que no termina en lo visible; pues aunque todo\nentre por los ojos, un fragmento importante subyace intuido, dif\u00edcil de comprobar: Ligeras\ndiferencias tonales, m\u00ednimas decisiones, el aparente caos de una composici\u00f3n arriesgada\nque sin embargo se sostiene con solidez.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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La pintura es tambi\u00e9n una conversaci\u00f3n entre tiempos. Cada cuadro contiene las huellas\nde los otros, aliment\u00e1ndose de la historia del arte para ser concebido y permitiendo a\nfuturo que la historia del arte contin\u00fae su desarrollo. As\u00ed mismo, quien pinta juega en\nlances de ciego, arrojando un gesto que ha sido llamado por el gesto anterior,\npreocup\u00e1ndose por saber cu\u00e1ndo parar, para que sus esfuerzos no queden enterrados bajo\nempastes de poco inter\u00e9s. Ser\u00e1 por esto que la historia de la pintura no avanza en l\u00ednea\nrecta, sino vuelve una y otra vez sobre las mismas inquietudes, transform\u00e1ndose sin\nagotarlas como si su labor fuera mantenerse en bucle para no dejarnos atr\u00e1s. En ese\nsentido, la obra de Antonio Imedio y Felipe Barreiro participa de una conversaci\u00f3n mucho\nm\u00e1s amplia que la de una generaci\u00f3n de artistas o un contexto geogr\u00e1fico espec\u00edfico.<\/p>

In one of Antonio’s paintings, the shadow of what appears to be a young man seems to be discovering his own body, while the upper part of the composition is occupied by the nude figure of an adult man (Joven acical\u00e1ndose, 2026<\/i>). We do not know whether he is asleep, resting, posing, or fantasising, for the lower part of the scene extends beyond the edge of the canvas. Nor do we know the relationship between these two figures. Yet the downward gaze of the protagonist alludes to a hidden action, one that remains beyond our understanding. The image derives its strength precisely from this uncertainty.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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The painting draws inspiration from Woman in the Bath<\/i> (1916) by Pierre Bonnard, the portrait of his wife Marthe in which the model’s body appears fragmented and reflected in a mirror, preventing the viewer’s gaze from ever fully grasping it. In both paintings, we find ourselves observing an elusive identity, a veiled body, an idealised figure that, through its reclining pose and quiet eroticism, lies almost indifferently in the background of the scene. In this respect, Antonio does more than simply quote Bonnard. He extends a pictorial question that has remained open for more than a century: a question concerning the body, intimacy, and reflection.<\/p>

A small painting of an unmade bed, upon which two seemingly abandoned pieces of fruit rest, presents the piece of furniture as a silent stage for human emotion (4 patas y dos frutos, 2026)<\/i>. Desire and dreams are condensed there, preserved in the memory of bodies that have left their imprint upon the crumpled sheets. Another canvas, which at first appears to be an abstract composition, gradually reveals itself, upon closer inspection, as an extreme close-up of the scalp of a woman combing her hair (Raiz Negra, 2026)<\/i>. In several of his paintings, Antonio seems to question the privileged position traditionally occupied by the painter as observer. His gaze moves with curiosity and unexpected intimacy, inhabiting the subtle eroticism of attentive looking, the infinitesimal distance between the observer and a body that never fully surrenders itself to representation.<\/p>

Hay un desplazamiento de la mirada que tambi\u00e9n recorre la obra de Felipe Barreiro, quien\nusa medios secos normalmente asociados al dibujo, pero con una aproximaci\u00f3n\nevidentemente pict\u00f3rica. Sus paisajes realizados con la en\u00e9rgica inmediatez del pastel,\nregistran urgencia por conservar la experiencia antes de que el tiempo la diluya. Algunos\nde sus temas, taciturnos sin dejar de ser dram\u00e1ticos, se empapan con una sensaci\u00f3n\natmosf\u00e9rica que numerosas capas y delicados juegos tonales otorgan a las piezas. Dichos\ntemas se emparentan muy de cerca con dos referentes aparentemente dis\u00edmiles, como lo\nson la cinematograf\u00eda y el romanticismo alem\u00e1n. Temas que, a pesar de su aparente\ndistancia, guardan una profunda cercan\u00eda ideol\u00f3gica.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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El romanticismo transform\u00f3 profundamente la funci\u00f3n del paisaje como tema art\u00edstico,\nconvirti\u00e9ndolo en un espacio de recogimiento, donde el mundo visible podr\u00eda reflejar la\nvida \u00edntima del sujeto. Dicha sensibilidad, sin embargo, ya no pertenece exclusivamente a\nla pintura. La fotograf\u00eda y, sobre todo, el cine, incorporaron esa manera de mirar hasta\nconvertirla en una gram\u00e1tica compartida de la introspecci\u00f3n. Hoy reconocemos\ndeterminados paisajes, ciertas atm\u00f3sferas o ciertas figuras solitarias como im\u00e1genes de\ncontemplaci\u00f3n porque forman parte de una memoria visual colectiva, y Felipe trabaja\nprecisamente desde esa condici\u00f3n contempor\u00e1nea. Parece ser que su investigaci\u00f3n no\nintenta recuperar el romanticismo como una tradici\u00f3n estil\u00edstica, sino que busca dialogar\ncon un lenguaje visual enigm\u00e1tico, tra\u00eddo ya por la cinematograf\u00eda al terreno de lo popular y\nreconocible.<\/p>

Felipe works on an intimate scale, driven by a distinctive compulsion through which hundreds, even thousands, of moments are preserved within his archive of images, each recalling the quality of a snapshot. The construction of this vast and heterogeneous body of memories feels remarkably refreshing in the context of contemporary art, which has become increasingly accustomed to highly specific, academicized rhetorics and research-driven practices.<\/p>

There is something fundamentally untamed in the artist’s approach: in his intuition, in his refusal to adopt a fixed position regarding the meaning of his work, and in the steadfastness with which he continues his practice, pursuing it with both intensity and meticulous care.<\/p>

Antonio y Felipe eligen en muchas ocasiones escenas aparentemente ordinarias \u2014una\nhabitaci\u00f3n, las nubes de una tormenta, un paisaje nocturno, o una cama vac\u00eda\u2014\n, pero como\nim\u00e1genes son umbrales hacia preguntas sobre el deseo, la memoria, y el tiempo. Estas\nreflexiones no s\u00f3lamente pertenecen al recogimiento y a la quietud, sino que pueden\nencontrarse tambi\u00e9n en la celebraci\u00f3n, la fiesta y el desenfreno. En el baile y en la m\u00fasica\ncomo expresiones de subjetivaci\u00f3n, momentos para construirse y empoderarse a trav\u00e9s\nde la compa\u00f1\u00eda. La pintura del trompetista de Antonio registra uno de estos instantes\ncomo verdaderos hitos de experiencia, en los que el gozo colectivo constituye otra de las\nformas del autodescubrimiento.<\/span><\/p>

The apparent simplicity of these subjects is subtly disrupted by small gestures and fleeting apparitions that bend the narrative, prompting us to wonder about the hidden story that remains untold. As we glimpse ghosts in an open field (El Espiritu de la ma\u00f1ana, 2025) <\/i>or strange figures levitating within a storm (Tempestad, 2025)<\/i>, we realise that a silent and unknown protagonist occupies the true centre of the exhibition. This figure does not signify an absence; rather, it marks an encounter that has not yet fully taken place. By preserving the shape of bodies while stripping away their individual features, the silhouette ceases to belong to any one person and assumes an archetypal presence.<\/p>

Teniendo en cuenta esto, podemos entender por qu\u00e9 sentimos a las sombras tan cerca de\nla idea de esp\u00edritu: no porque pertenezcan a un mundo sobrenatural, sino porque habitan el\nintervalo entre lo visible y lo ausente. Pintar una sombra supone intentar representar\naquello que, por definici\u00f3n, resiste la sublimaci\u00f3n de convertirse en una imagen completa.<\/p>

Existe una ambici\u00f3n silenciosa que une el trabajo de ambos artistas, y es la confianza\ndepositada en las posibilidades todav\u00eda abiertas de la pintura. Antonio Imedio y Felipe\nBarreiro contin\u00faan pregunt\u00e1ndose sobre lo que puede hacer la imagen art\u00edstica, que es\nprobablemente algo que ning\u00fan otro lenguaje consigue hacer del mismo modo. Una\npintura contin\u00faa ocurriendo mucho despu\u00e9s de haber sido terminada. Las sombras, los\ncuerpos y los paisajes reunidos en esta exposici\u00f3n no buscan fijar un significado, sino\nmantener abierta una experiencia. En ellos todav\u00eda es posible sentir que alguien acaba de\nabandonar una habitaci\u00f3n, que un paisaje puede devolvernos una parte desconocida de\nnosotros mismos, o que una sombra puede ser m\u00e1s diciente que un retrato hecho a luz\nplena.<\/p>

Es all\u00ed, en ese espacio donde la percepci\u00f3n comienza a confundirse con la memoria,\ny d\u00f3nde los tiempos se hacen un nudo, que la pintura persiste.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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selected artworks<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Aucun profil d\u00e9tect\u00e9.<\/p><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Antonio Imedio & Felipe Barreiro Pactos con sombras y fantasmas July 11 \u2013 Sept 12 , 2026 Bogot\u00e1 text by William Contreras, curator The muted sound of cherries rolling across a table. The lingering warmth of a body that has just left the bed. Someone moving behind a door. The certainty of something we cannot…<\/p>","protected":false},"author":1,"featured_media":43310,"parent":43210,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-43193","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nPactos con sombras y fantasmas | Imedio & Barreiro | Galerie Hugo Dufon<\/title>\n<meta name=\"description\" content=\"Discover Pactos con sombras y fantasmas, an exhibition by Antonio Imedio and Felipe Barreiro Carvajal at Galerie Hugo Dufon, Bogot\u00e1. 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