{"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\/fr\/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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Le bruit sourd de quelques cerises roulant sur une table. La ti\u00e9deur d'un corps qui vient de quitter le lit. Quelqu'un qui se d\u00e9place derri\u00e8re une porte. La certitude de quelque chose que nous ne parvenons pas \u00e0 voir, mais que nous pressentons \u00e0 travers une ombre, un son ou une variation presque imperceptible de la lumi\u00e8re. Rien d'extraordinaire en apparence, et pourtant ces pr\u00e9sences semblent d\u00e9passer nos certitudes les plus ordinaires.<\/p>

La peinture a toujours \u00e9t\u00e9 un moyen de donner forme \u00e0 cette incertitude. Elle ne cherche pas \u00e0 traduire fid\u00e8lement le monde, mais accompagne le regard du spectateur en \u00e9largissant sa perception, en l'invitant \u00e0 une attention plus profonde. Devant une peinture, il faut toujours regarder de nouveau : \u00e9couter avec les yeux, toucher par le regard, reconna\u00eetre des textures qui appartiennent autant \u00e0 la m\u00e9moire qu'\u00e0 la mati\u00e8re. L'image peinte propose une exp\u00e9rience qui ne s'arr\u00eate pas \u00e0 ce qui est visible. Car, m\u00eame si tout entre par les yeux, une part essentielle demeure intuitive, difficile \u00e0 v\u00e9rifier : de subtiles variations de ton, des d\u00e9cisions presque imperceptibles, le chaos apparent d'une composition audacieuse qui, pourtant, conserve une remarquable coh\u00e9rence.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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La peinture est aussi une conversation entre les \u00e9poques. Chaque tableau porte la trace de ceux qui l'ont pr\u00e9c\u00e9d\u00e9, se nourrit de l'histoire de l'art pour exister et permet, \u00e0 son tour, \u00e0 cette histoire de poursuivre son d\u00e9veloppement. Celui qui peint avance \u00e9galement \u00e0 t\u00e2tons, lan\u00e7ant un geste appel\u00e9 par le geste pr\u00e9c\u00e9dent, cherchant \u00e0 savoir quand s'arr\u00eater afin que son travail ne soit pas enseveli sous des emp\u00e2tements sans n\u00e9cessit\u00e9. C'est peut-\u00eatre pour cette raison que l'histoire de la peinture ne progresse pas en ligne droite : elle revient sans cesse vers les m\u00eames interrogations, les transforme sans jamais les \u00e9puiser, comme si sa mission consistait \u00e0 demeurer en mouvement pour ne jamais nous abandonner. Dans cette perspective, les \u0153uvres d'Antonio Imedio et de Felipe Barreiro prennent part \u00e0 une conversation bien plus vaste que celle d'une g\u00e9n\u00e9ration d'artistes ou d'un contexte g\u00e9ographique particulier.<\/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>

Ce d\u00e9placement du regard traverse \u00e9galement l'\u0153uvre de Felipe Barreiro, qui utilise des m\u00e9diums secs g\u00e9n\u00e9ralement associ\u00e9s au dessin, mais avec une approche r\u00e9solument picturale. Ses paysages, r\u00e9alis\u00e9s avec l'imm\u00e9diatet\u00e9 \u00e9nergique du pastel, traduisent l'urgence de pr\u00e9server une exp\u00e9rience avant que le temps ne l'efface. Certains de ses sujets, m\u00e9lancoliques sans cesser d'\u00eatre dramatiques, sont baign\u00e9s d'une atmosph\u00e8re que conf\u00e8rent aux \u0153uvres la superposition de nombreuses couches et un subtil jeu de tonalit\u00e9s. Ces images entretiennent une parent\u00e9 \u00e9troite avec deux r\u00e9f\u00e9rences qui semblent, \u00e0 premi\u00e8re vue, \u00e9loign\u00e9es l'une de l'autre : le cin\u00e9ma et le romantisme allemand. Pourtant, malgr\u00e9 cette apparente distance, elles partagent une profonde proximit\u00e9 sur le plan des id\u00e9es.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Le romantisme a profond\u00e9ment transform\u00e9 la fonction du paysage comme sujet artistique, en en faisant un espace de recueillement o\u00f9 le monde visible pouvait refl\u00e9ter la vie int\u00e9rieure du sujet. Cette sensibilit\u00e9 n'appartient toutefois plus exclusivement \u00e0 la peinture. La photographie, et surtout le cin\u00e9ma, ont int\u00e9gr\u00e9 cette mani\u00e8re de regarder jusqu'\u00e0 en faire une grammaire commune de l'introspection. Aujourd'hui, nous reconnaissons certains paysages, certaines atmosph\u00e8res ou certaines figures solitaires comme des images de contemplation parce qu'ils appartiennent \u00e0 une m\u00e9moire visuelle collective. C'est pr\u00e9cis\u00e9ment \u00e0 partir de cette condition contemporaine que travaille Felipe. Sa recherche ne vise pas \u00e0 r\u00e9habiliter le romantisme comme tradition stylistique, mais \u00e0 dialoguer avec un langage visuel \u00e9nigmatique que le cin\u00e9ma a d\u00e9j\u00e0 rendu familier et largement partag\u00e9.<\/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 et Felipe choisissent souvent des sc\u00e8nes en apparence ordinaires - une chambre, les nuages d'un orage, un paysage nocturne ou un lit vide - mais ces images deviennent des seuils ouvrant sur des questions de d\u00e9sir, de m\u00e9moire et de temps. Ces r\u00e9flexions n'appartiennent pas seulement au recueillement et au silence ; elles se manifestent aussi dans la c\u00e9l\u00e9bration, la f\u00eate et l'abandon. Dans la danse et dans la musique, envisag\u00e9es comme des formes de construction de soi, des moments o\u00f9 l'on se fa\u00e7onne et s'affirme gr\u00e2ce \u00e0 la pr\u00e9sence des autres. La peinture du trompettiste d'Antonio saisit l'un de ces instants comme un v\u00e9ritable moment fondateur de l'exp\u00e9rience, o\u00f9 la joie collective devient une autre voie vers la d\u00e9couverte de soi.<\/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>

\u00c0 la lumi\u00e8re de cela, on comprend pourquoi les ombres nous paraissent si proches de l'id\u00e9e d'esprit : non parce qu'elles rel\u00e8veraient d'un monde surnaturel, mais parce qu'elles habitent cet intervalle entre le visible et l'absent. Peindre une ombre revient \u00e0 tenter de repr\u00e9senter ce qui, par d\u00e9finition, r\u00e9siste \u00e0 toute fixation en une image pleinement constitu\u00e9e.<\/p>

Une ambition silencieuse unit le travail des deux artistes : la confiance qu'ils accordent aux possibilit\u00e9s encore inexplor\u00e9es de la peinture. Antonio Imedio et Felipe Barreiro continuent de s'interroger sur ce que l'image picturale est capable de produire, sans doute d'une mani\u00e8re qu'aucun autre langage ne peut v\u00e9ritablement \u00e9galer. Une peinture continue d'advenir bien apr\u00e8s avoir \u00e9t\u00e9 achev\u00e9e. Les ombres, les corps et les paysages r\u00e9unis dans cette exposition ne cherchent pas \u00e0 imposer un sens d\u00e9finitif, mais \u00e0 maintenir une exp\u00e9rience ouverte. Ils nous permettent encore de sentir que quelqu'un vient de quitter une pi\u00e8ce, qu'un paysage peut nous r\u00e9v\u00e9ler une part inconnue de nous-m\u00eames, ou qu'une ombre peut parfois en dire davantage qu'un portrait pleinement \u00e9clair\u00e9.<\/p>

C'est l\u00e0, dans cet espace o\u00f9 la perception commence \u00e0 se confondre avec la m\u00e9moire, o\u00f9 les temporalit\u00e9s se nouent les unes aux autres, que la peinture continue de persister.<\/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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