English, Español, Français, Català.
Textos preliminares de Gabriel D’Iorio, John Kosmopoulos, Miquel Romero y Graciela Oses.
Traducciones de Alicia Pallas.
Publicado: octubre de 2012
From the preliminary texts:
“…Immadencity is a singular view on Buenos Aires, yes, but it is also a phenomenology of image that combines the tradition of its symbols –flag, obelisk, domes and landmark buildings- with the latest forms of urban intervention. These ultramodern constructions gain the sky and assemble powerful geometrical pictures combining nature and culture, the given and the made, and give Fernando’s photographs a truly cosmopolitan feel…” (by Gabriel D’Iorio).
“Architecture: a semiotic signature of mathematical madness resting on the philosophical penchants of an abstract artist writ in ir/reality…” (by John Kosmopoulos).
“…A certain romance and melancholy are perceived in a work, so delicately composed and elaborate, just a work made of sensations is able to fully convey that ‘something more’ that Fernando shows, opening the door. The monotony of the Metropolis, the architectural boredom, the Corbusierian antipromenade, seem to have left more room and leeway in the execution of the images shown. Fernando, almost like a war reporter, captures the crudity and communicates it to us…” (by Miquel Romero)
“…Musical time recreates a set of diverse human times lived through sounds that do not resent silences, but look for them and incorporate them as (new) music. The paradox, vital essence of the artist, is alive and vibrant in “Immadencity”…” (by Graciela Oses)
All of them were composed and framed during shooting in one day, with just a handheld camera, a lens and natural light. Postproduction was conceived as a way of emphasizing the singular, dense and immanent character of the city through a notably corporeal iconography in the area of Puerto Madero, and it is limited to obeying the histogram’s wishes.