Frederico Filippi https://fredericofilippi.com Frederico Filippi Wed, 25 Jun 2025 21:51:40 +0000 https://fredericofilippi.com en Index https://fredericofilippi.com/Index Wed, 11 Dec 2024 21:27:54 +0000 Frederico Filippi https://fredericofilippi.com/Index Mobile header https://fredericofilippi.com/Mobile-header Wed, 11 Dec 2024 21:27:54 +0000 Frederico Filippi https://fredericofilippi.com/Mobile-header Frederico Filippi Information EmailInstagramTwitter Arc: deforestation as artwork https://fredericofilippi.com/Arc-deforestation-as-artwork Wed, 11 Dec 2024 21:27:54 +0000 Frederico Filippi https://fredericofilippi.com/Arc-deforestation-as-artwork <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/9df95bc6a92cbe8976db74ea87483a05d7f69c04cd3838bd24943383fd87c584/241022_mam_panorama_261.jpg" data-mid="223233604" border="0" src="https://freight.cargo.site/w/1000/i/9df95bc6a92cbe8976db74ea87483a05d7f69c04cd3838bd24943383fd87c584/241022_mam_panorama_261.jpg" /> Arc (2020–2024) is the materialization of a research project initiated in 2011, which culminated in the artist’s master’s thesis. It is grounded in the idea of the “arc of deforestation” as a work of art. Through different chapters, the thesis addresses this extractivist phenomenon from various perspectives, unpacking its conceptual, visual, and physical aspects. The notion of the “arc of deforestation” as an idea, as visuality, as intervention or sculpture is formally developed as a three-channel video installation. In it, the screens are arranged irregularly and juxtaposed by a laser-cut wooden panel, shaped to evoke fragmentation—sharp and chaotic. The brutality of deforestation, the intensity of heat, the destructive dynamics of the economy, and the haunting chaos surrounding this phenomenon all emerge. On the back of the panel, four images arranged like angled flags display newly discovered geoglyphs in the Amazon, juxtaposing temporalities and worldviews. <img width="617" height="925" width_o="617" height_o="925" data-src="https://freight.cargo.site/t/original/i/a9051d9a8384b7c83af7af9289c6e42abe5843fda1e23c68f496e5d932802e31/arco1.jpg" data-mid="233791155" border="0" data-scale="49" src="https://freight.cargo.site/w/617/i/a9051d9a8384b7c83af7af9289c6e42abe5843fda1e23c68f496e5d932802e31/arco1.jpg" />&nbsp; &nbsp;<img width="1564" height="2346" width_o="1564" height_o="2346" data-src="https://freight.cargo.site/t/original/i/af7e55ac882763be7749667eb4123d685e7c82f116890e551bfe5e89e9540ef1/_MG_3746-copy.jpg" data-mid="234125542" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/af7e55ac882763be7749667eb4123d685e7c82f116890e551bfe5e89e9540ef1/_MG_3746-copy.jpg" /> <img width="1750" height="1172" width_o="1750" height_o="1172" data-src="https://freight.cargo.site/t/original/i/2235c660b1c10c931df027eaf775b299f7e82e4227f216fdb81cc8f45b4f03cb/Screen-Shot-2025-05-27-at-15.54.48.png" data-mid="233791343" border="0" src="https://freight.cargo.site/w/1000/i/2235c660b1c10c931df027eaf775b299f7e82e4227f216fdb81cc8f45b4f03cb/Screen-Shot-2025-05-27-at-15.54.48.png" />Arc, 2020–24 video installation developed from the research project Arco: Deforestation as Artwork — three-channel video, 4’, silent, images of Amazonian geoglyphs captured with LiDAR printed on fabric, steel cables, steel tubes, laser-cut MDF panel, and projection. 320 x 230 x 75 cm Arco (2020-2024), é a materialização de uma pesquisa conduzida desde 2011, que resultou em sua dissertação de mestrado. Fundamentada na ideia do“arco do desmatamento” como obra de arte. Por meio de diferentes capítulos, a tese aborda esse fenômeno extrativista por diversos vieses, destrinchando seus aspectos conceituais, imagéticos e físicos. Essa noção do “arco do desmatamento” como ideia, como visualidade, com intervenção ou escultura é desenvolvida formalmente como uma videoinstalação em três canais. Nela, as telas são alinhadas de modo irregular e justapostas por um painel de madeiras cortado a laser, com formas que remetem&nbsp; processos de fragmentação, afiados e caóticos. Aparecem, então, a brutalidade da desflorestação, a intensidade do calor, as dinâmicas destrutivas da economia&nbsp; o assombro do caos que envolve esse fenômeno. Na parte de trás do painel, quatro imagens dispostas como espécie de bandeiras anguladas trazem imagens de geoglifos recém descobertos na Amazônia, contrapondo temporalidades e visões de mundo. Moquém, Carne de Caça https://fredericofilippi.com/Moquem-Carne-de-Caca Tue, 27 May 2025 18:41:24 +0000 Frederico Filippi https://fredericofilippi.com/Moquem-Carne-de-Caca <img width="1321" height="896" width_o="1321" height_o="896" data-src="https://freight.cargo.site/t/original/i/57f17a11515b6779178b6b31669ba21fba7dda6213ece2594c39ed178eff8f53/moquem1.jpg" data-mid="233791517" border="0" src="https://freight.cargo.site/w/1000/i/57f17a11515b6779178b6b31669ba21fba7dda6213ece2594c39ed178eff8f53/moquem1.jpg" /> <img width="797" height="459" width_o="797" height_o="459" data-src="https://freight.cargo.site/t/original/i/7744d9d53786a6450469a83d75f1c99a1184904670640e119b21f4a12fa190da/moquem2.jpg" data-mid="233791518" border="0" src="https://freight.cargo.site/w/797/i/7744d9d53786a6450469a83d75f1c99a1184904670640e119b21f4a12fa190da/moquem2.jpg" /> <img width="797" height="459" width_o="797" height_o="459" data-src="https://freight.cargo.site/t/original/i/3bcd5c8d0b81594cefeba70cb8397c53d749639e43fbb4d9e6dba0a3df19928b/moquem3.jpg" data-mid="233791519" border="0" src="https://freight.cargo.site/w/797/i/3bcd5c8d0b81594cefeba70cb8397c53d749639e43fbb4d9e6dba0a3df19928b/moquem3.jpg" /> Moquém – Game Meats (2023-2024) is composed of leftover parts from two tractors incinerated by the Federal Police after an inspection operation at illegal mining sites in the Itaituba region, Pará. In the artwork, these burned and melted residues are displayed in a compositional arrangement, under a grid structure. On the pieces, there are specific incisions made with pitch: freehand drawings that evoke patterns found in nature. The title of the work points to the reference that underpins this structure. “Moquém” was the name the Tupi people gave to the wooden grill used to roast meats, whether from animals or prisoners prepared for anthropophagic rituals. <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/12799ee16ef60ba353075db08af55f3477758e33c53c5540747738edf26bd95f/moquem1.jpg" data-mid="234129237" border="0" src="https://freight.cargo.site/w/1000/i/12799ee16ef60ba353075db08af55f3477758e33c53c5540747738edf26bd95f/moquem1.jpg" /> The work happens at the crossroads between the visual and material force of these pieces and the metaphorical and conceptual play. On one hand, it dramatically suggests the swallowing of man by man; on the other, it proposes an archaeology of the future, cataloging and arranging the residues of the human ecological loop. In this sense, it comments on the absurdity of the industrial chain that extracts ore by complex and costly means, only to later use it in the creation of machines designed to extract more ore, which are then destroyed and left worthless in the jungle, to be reabsorbed by the soil, somehow rejoining the mineral in its raw form. <img width="2346" height="1564" width_o="2346" height_o="1564" data-src="https://freight.cargo.site/t/original/i/70cd82618ca1ffdf6aa1f4a789d5cc296e6d33ed6e1f6c6f1ae35487dcdc2aa9/_MG_3754-copy.jpg" data-mid="234129274" border="0" src="https://freight.cargo.site/w/1000/i/70cd82618ca1ffdf6aa1f4a789d5cc296e6d33ed6e1f6c6f1ae35487dcdc2aa9/_MG_3754-copy.jpg" /> <img width="277" height="212" width_o="277" height_o="212" data-src="https://freight.cargo.site/t/original/i/f3d141b362355bfbd8fd7fb732c3c19bdcfd40c9de3f6847c82aa1d394a2f3b9/moquem4.jpg" data-mid="233791520" border="0" data-scale="100" src="https://freight.cargo.site/w/277/i/f3d141b362355bfbd8fd7fb732c3c19bdcfd40c9de3f6847c82aa1d394a2f3b9/moquem4.jpg" /> <img width="627" height="417" width_o="627" height_o="417" data-src="https://freight.cargo.site/t/original/i/747752e46b64d48ae1ff77d9c44c8f180d0fa8afabb2ade15d2db0ee7034fe55/moquem5.jpg" data-mid="233791522" border="0" data-scale="100" src="https://freight.cargo.site/w/627/i/747752e46b64d48ae1ff77d9c44c8f180d0fa8afabb2ade15d2db0ee7034fe55/moquem5.jpg" /> <img width="559" height="419" width_o="559" height_o="419" data-src="https://freight.cargo.site/t/original/i/5d7a168a41fbf1e4a47b1c6f2cec987c8f1d2157b1c648f81db1c2cab7ba14ff/moquem6.jpg" data-mid="233791529" border="0" data-scale="100" src="https://freight.cargo.site/w/559/i/5d7a168a41fbf1e4a47b1c6f2cec987c8f1d2157b1c648f81db1c2cab7ba14ff/moquem6.jpg" /> Moquém – Carnes de caça [Moquém – Game Meat], 2023-24Tractor parts incinerated and melted at mining site in Itaituba, Pará State; steel, iron, plastic, and asphalt &nbsp; [various dimensions] Part of the Contemporary Art Museum of São Paulo University Collection Moquém – Carnes de caça (2023-2024), é composta por peças remanescentes de dois tratores incinerados pela Polícia Federal após uma operação de fiscalização em garimpos ilegais, na região de Itaituba, Pará. Na obra, esses resíduos queimados e derretidos são expostos num arranjo composicional, sob uma estrutura em grid. Sobre as peças, há incisões pontuais feitas com piche: desenhos livres mas que remetem a padrões encontrados na natureza. O título da obra aponta a referência que fundamenta essa estrutura. “Moquém” era o nome que o povo Tupi dava a grelha de madeira para assar carnes, sejam de animais ou de prisioneiros preparados para rituais antropofágicos. O trabalho acontece na encruzilhada entre a força visual e material dessas peças e o jogo metafórico e conceitual. Por um lado sugere de modo dramático a deglutição do homem pelo homem, por outro, propõe uma arqueologia do futuro, que cataloga e dispõe os resíduos do loop ecológico humano. Nesse sentido, comenta sobre o absurdo da cadeia industrial que extrai o minério por meios complexos e custosos, para depois empregá-lo na criação de máquinas utilizadas para extrair mais minério, e que depois são destruídas, sendo largadas sem valor na selva, para serem absorvidas novamente pelo solo, juntando-se de algum modo ao mineral em sua forma bruta. Cobra Grande https://fredericofilippi.com/Cobra-Grande Wed, 01 Mar 2023 18:17:39 +0000 Frederico Filippi https://fredericofilippi.com/Cobra-Grande <img width="1579" height="1200" width_o="1579" height_o="1200" data-src="https://freight.cargo.site/t/original/i/9a6b78f2eda44a4360d3e72a04a1cd5bb5de071e16b23fdb2dcf2a74bfa75441/corrente_desfeita-copiar.jpg" data-mid="234129333" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/9a6b78f2eda44a4360d3e72a04a1cd5bb5de071e16b23fdb2dcf2a74bfa75441/corrente_desfeita-copiar.jpg" /> Cobra Grande was a proposal for a temporary sculpture made of unfired adobe. The sculpture consists of a life-size replica of a land-clearing drag chain, used in both legal and illegal deforestation, especially in the Amazon region. In these activities, the drag chain is pulled by two tractors that encircle an area of forest to be felled. The force of the chain uproots trees along with their roots. <img width="945" height="630" width_o="945" height_o="630" data-src="https://freight.cargo.site/t/original/i/4fb7fcd1cb3470ba61f01fe577475ae0182320cae3af5cc7de422414c160df20/221210_mam_301.jpg" data-mid="234129354" border="0" src="https://freight.cargo.site/w/945/i/4fb7fcd1cb3470ba61f01fe577475ae0182320cae3af5cc7de422414c160df20/221210_mam_301.jpg" /> <img width="945" height="630" width_o="945" height_o="630" data-src="https://freight.cargo.site/t/original/i/f64affbcdd6d10786c99338b997ccf8833037570b60d45907738df869efc6ef1/221210_mam_012.jpg" data-mid="234129356" border="0" src="https://freight.cargo.site/w/945/i/f64affbcdd6d10786c99338b997ccf8833037570b60d45907738df869efc6ef1/221210_mam_012.jpg" /> <img width="945" height="630" width_o="945" height_o="630" data-src="https://freight.cargo.site/t/original/i/34ce28ed818fa635d41374e52149c3c9435dbf66551b032703d43f34d7c59a8c/221210_mam_017.jpg" data-mid="170198752" border="0" src="https://freight.cargo.site/w/945/i/34ce28ed818fa635d41374e52149c3c9435dbf66551b032703d43f34d7c59a8c/221210_mam_017.jpg" /> <img width="945" height="630" width_o="945" height_o="630" data-src="https://freight.cargo.site/t/original/i/a679bb5db99bd7d5e9d1ece50d38f5b51f0963a1bc03ec987079eb11ad02cabe/221210_mam_220.jpg" data-mid="170198566" border="0" src="https://freight.cargo.site/w/945/i/a679bb5db99bd7d5e9d1ece50d38f5b51f0963a1bc03ec987079eb11ad02cabe/221210_mam_220.jpg" /> In Cobra Grande, the chain will be made of clay and straw, creating a visual resemblance to oxidized iron. This technique is known as COB, used in ancestral vernacular construction and recently revived through bioconstruction practices. Each link will be shaped in clay using the same method as adobe bricks, formed from CNC-milled molds. The total length of the piece is approximately 70 meters, with each link measuring about 65 cm in height and width. The chain will be arranged in an arc shape, separating historical works and the museum building from the area designated as the garden (nature), simulating a constricting attack—much like an anaconda or the drag chains themselves. This opposition between natural and industrial elements (snake/chain, clay/steel) embodies the concept of threat and, subsequently, deposition. It is meant to disintegrate due to exposure to the elements, especially rain. As the links break under the force of the rain, they are also intended to provide shelter for the emergence of a garden. These tensions and expectations are a key part of my work. In this case, the chain disintegrates and returns to the earth.<img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5f4e9a899e7dafd72a7077e7f6a93f6dc9772f5b900a25994ced8fa0f8bbe4de/DSCN5769.JPG" data-mid="170199085" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/5f4e9a899e7dafd72a7077e7f6a93f6dc9772f5b900a25994ced8fa0f8bbe4de/DSCN5769.JPG" />&nbsp; &nbsp; &nbsp;&nbsp;<img width="4624" height="3468" width_o="4624" height_o="3468" data-src="https://freight.cargo.site/t/original/i/a731328277b7a9e2499bd71715b483e0f842a80d661498bf20b1c30a3391731f/20230310_153558.jpg" data-mid="234129343" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/a731328277b7a9e2499bd71715b483e0f842a80d661498bf20b1c30a3391731f/20230310_153558.jpg" /> <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/38c485d2859e4ff9294820c89cc96eff419a69709a76aea234e9c2d8472eeb45/WhatsApp-Image-2022-12-14-at-13.12.59-2.jpeg" data-mid="234129357" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/38c485d2859e4ff9294820c89cc96eff419a69709a76aea234e9c2d8472eeb45/WhatsApp-Image-2022-12-14-at-13.12.59-2.jpeg" /> &nbsp; &nbsp; &nbsp;<img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fe9f3eac527e2ee45a2ba10e873943d21ff393e3d81811c2c2b04f2853e00604/IMG_20230114_125808.jpg" data-mid="170199137" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/fe9f3eac527e2ee45a2ba10e873943d21ff393e3d81811c2c2b04f2853e00604/IMG_20230114_125808.jpg" /><img width="4480" height="3255" width_o="4480" height_o="3255" data-src="https://freight.cargo.site/t/original/i/2e46fa24248d784154f4d5a97e9b9ce6904f719b24ad2d5cc5ae7f01545283df/Frederico-Filippi.-Detalhe-da-obra-Cobra-Grande-2022--no-Jardim-de-Esculturas-do-MAM.-Foto_-Estdio-em-Obra8.jpg" data-mid="234129358" border="0" src="https://freight.cargo.site/w/1000/i/2e46fa24248d784154f4d5a97e9b9ce6904f719b24ad2d5cc5ae7f01545283df/Frederico-Filippi.-Detalhe-da-obra-Cobra-Grande-2022--no-Jardim-de-Esculturas-do-MAM.-Foto_-Estdio-em-Obra8.jpg" />Big Snake, 2023&nbsp; Earth and straw, 68 meter lengthEphemeral sculpture Cobra Grande é uma proposta de escultura temporária feita em adobe sem queima. A escultura consiste em uma réplica em tamanho real de um correntão de desmate, utilizado em derrubadas legais e ilegais, principalmente no território amazônico. Nestas atividades, o correntão é arrastado por dois tratores que envolvem uma área de floresta a ser derrubada. A tração da corrente arranca as árvores e suas raízes. Em Cobra Grande, a corrente será feita de barro e palha, criando uma proximidade da imagem do ferro oxidado. Esta técnica é conhecida como COB, utilizada para construções vernaculares ancestrais e recentemente resgatada por meio da bioconstrução. Cada elo será executado em barro em uma forma exatamente da mesma forma que os tijolos em adobe são executados, a partir de moldes usinados em CNC. O comprimento da obra é de aproximadamente 70 metros de extensão por 65 cm de altura e largura. A corrente será disposta em forma de arco, separando obras históricas e o prédio do museu da área designada como jardim (natureza), de forma a simular um ataque constritor, assim como são as sucuris e os correntões. Esta oposição de elementos naturais e industriais (cobra/ corrente, barro/aço) constitui o conceito de ameaça e posteriormente deposição. A corrente deve se desfazer pela exposição ao clima, especialmente à chuva. Conforme os elos se quebram pela força da chuva, também devem oferecer abrigo para o surgimento de um jardim. Estas oposições e expectativas fazem parte do meu trabalho. Neste caso, a corrente se desfaz e retorna à terra. We, the mirror eaters https://fredericofilippi.com/We-the-mirror-eaters Fri, 11 Oct 2024 15:43:51 +0000 Frederico Filippi https://fredericofilippi.com/We-the-mirror-eaters 2 channel video3’55” 2023 “We, the Mirror Eaters” is a commissioned work for the exhibition Object-Subject at the Museu Paranaense. The piece is a two-channel video, with a 10-degree angle between the screens, and a double subtitle that acts as an echo of a family story told through two distinct consciousnesses. The story recalls a recurring episode from my father's childhood: he often recounted eating dirt due to some nutritional deficiency. In the video, he and I replicate the act of eating earth, which he used to scrape from between the wooden floorboards with his fingernail. My grandfather, his father, is represented through three mutilated hands—just like his were, damaged by a lifetime of carpentry. My grandfather was a sawyer, part of the history of the deforestation of the Araucaria pine forests. The video tells the story of a land that once witnessed starving immigrants (which we were) arriving and invading Indigenous territory, only to later be expelled themselves. <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0840c498ed81b8812c9f2390cba92db732575880a5bddf8fda00a83ab6b413b0/nce1.jpg" data-mid="219606167" border="0" src="https://freight.cargo.site/w/1000/i/0840c498ed81b8812c9f2390cba92db732575880a5bddf8fda00a83ab6b413b0/nce1.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9c15e7014ddcdd70c5c204d9379406649938a847edbcb3bc3b0991124d38c947/nce3.jpg" data-mid="219606184" border="0" src="https://freight.cargo.site/w/1000/i/9c15e7014ddcdd70c5c204d9379406649938a847edbcb3bc3b0991124d38c947/nce3.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2595fd62a18710460e9aae27eab9a5a1924dcf3004b894cc1f6bcc3303a4489f/nce5.jpg" data-mid="219606199" border="0" src="https://freight.cargo.site/w/1000/i/2595fd62a18710460e9aae27eab9a5a1924dcf3004b894cc1f6bcc3303a4489f/nce5.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6df2f2a278e80e93d169920430b36ff86a496771a264aeae10ee8199ab080da0/nce7.jpg" data-mid="219606214" border="0" src="https://freight.cargo.site/w/1000/i/6df2f2a278e80e93d169920430b36ff86a496771a264aeae10ee8199ab080da0/nce7.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5100705deb71191dfc13d1e466c1eddc38ea499c6ab50bf85194ba50b2252e5a/nce9.jpg" data-mid="219606231" border="0" src="https://freight.cargo.site/w/1000/i/5100705deb71191dfc13d1e466c1eddc38ea499c6ab50bf85194ba50b2252e5a/nce9.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/108bf85615b8ec01af4bf00af7e03ffcdb827b84f0759d86bdf71721ea214cdc/nce11.jpg" data-mid="219606247" border="0" src="https://freight.cargo.site/w/1000/i/108bf85615b8ec01af4bf00af7e03ffcdb827b84f0759d86bdf71721ea214cdc/nce11.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ce61b369724f3a912ef7abfee363ee327b14a2a6a149cabd1547746c849698a2/nce13.jpg" data-mid="219606261" border="0" src="https://freight.cargo.site/w/1000/i/ce61b369724f3a912ef7abfee363ee327b14a2a6a149cabd1547746c849698a2/nce13.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c9049284a3e50aba6f78a57b5abf114b91048fbe279efcfa7d3f33c223044220/nce15.jpg" data-mid="219606279" border="0" src="https://freight.cargo.site/w/1000/i/c9049284a3e50aba6f78a57b5abf114b91048fbe279efcfa7d3f33c223044220/nce15.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f39f0270a643f208f4a310657a2e8a49381a6749ee1abb8ccdc32db9b78a31d7/nce18.jpg" data-mid="219606294" border="0" src="https://freight.cargo.site/w/1000/i/f39f0270a643f208f4a310657a2e8a49381a6749ee1abb8ccdc32db9b78a31d7/nce18.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4ceda321fc164fcf8ef298df91e96f6e2832765a3156d82a342a28c9b0704548/nce2.jpg" data-mid="219606175" border="0" src="https://freight.cargo.site/w/1000/i/4ceda321fc164fcf8ef298df91e96f6e2832765a3156d82a342a28c9b0704548/nce2.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7dbc1603d07a314fc71eb1b4cada6d61493a325bcc069fce8f729ba8d577c553/nce4.jpg" data-mid="219606191" border="0" src="https://freight.cargo.site/w/1000/i/7dbc1603d07a314fc71eb1b4cada6d61493a325bcc069fce8f729ba8d577c553/nce4.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2c1333161129dbbe9d3ceba043284ff9e16edec88189077d066b4ba896245587/nce6.jpg" data-mid="219606207" border="0" src="https://freight.cargo.site/w/1000/i/2c1333161129dbbe9d3ceba043284ff9e16edec88189077d066b4ba896245587/nce6.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/741c3ec433714d4c21843361986c59b3eda43f0aa7ab7a2984f5b6fe5207a75f/nce8.jpg" data-mid="219606222" border="0" src="https://freight.cargo.site/w/1000/i/741c3ec433714d4c21843361986c59b3eda43f0aa7ab7a2984f5b6fe5207a75f/nce8.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8bbb2c5c217d6f80674f610fa900b03955fa5f503f73e02f9589c06382dd13a0/nce10.jpg" data-mid="219606239" border="0" src="https://freight.cargo.site/w/1000/i/8bbb2c5c217d6f80674f610fa900b03955fa5f503f73e02f9589c06382dd13a0/nce10.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/217175dd8be18056690e548e3263349862f4457fbcc682b980e5225fdca15863/nce12.jpg" data-mid="219606254" border="0" src="https://freight.cargo.site/w/1000/i/217175dd8be18056690e548e3263349862f4457fbcc682b980e5225fdca15863/nce12.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3b9a5c983026a1b8d7ec5fd97eb3b7d1fe77e146c785491a7884e66e3ddbebfc/nce14.jpg" data-mid="219606272" border="0" src="https://freight.cargo.site/w/1000/i/3b9a5c983026a1b8d7ec5fd97eb3b7d1fe77e146c785491a7884e66e3ddbebfc/nce14.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/85b6c481c79c11538e5bce97a968e4ec0d41b94b164118b2b567eb0e71caa847/nce16.jpg" data-mid="219606285" border="0" src="https://freight.cargo.site/w/1000/i/85b6c481c79c11538e5bce97a968e4ec0d41b94b164118b2b567eb0e71caa847/nce16.jpg" /> <img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2a5d86823ff88d097675aa484ae9dbcee77557243da9cec387ce2f8fba293ade/nce19.jpg" data-mid="219606298" border="0" src="https://freight.cargo.site/w/1000/i/2a5d86823ff88d097675aa484ae9dbcee77557243da9cec387ce2f8fba293ade/nce19.jpg" /> “Nós, os Comedores de Espelhos” é uma obra encomendada para a exposição Objeto-Sujeito no Museu Paranaense. A obra é um vídeo em dois canais, com um ângulo de 10 graus entre as telas e uma legenda dupla que funciona como um eco de uma história familiar contada por duas consciências distintas. A história relembra um episódio recorrente da infância do meu pai: ele frequentemente contava que comia terra devido a alguma deficiência nutricional. No vídeo, ele e eu reproduzimos o ato de comer terra, que ele costumava raspar entre as tábuas do assoalho com a unha. Meu avô, seu pai, é representado por três mãos mutiladas — assim como as dele, danificadas por uma vida inteira de carpintaria. Meu avô era serrador, parte da história do desmatamento das florestas de araucária. O vídeo conta a história de uma terra que outrora testemunhou imigrantes famintos (nós éramos) chegando e invadindo o território indígena, apenas para depois serem expulsos. Retrasados https://fredericofilippi.com/Retrasados Mon, 24 Jan 2022 20:13:59 +0000 Frederico Filippi https://fredericofilippi.com/Retrasados <img width="592" height="395" width_o="592" height_o="395" data-src="https://freight.cargo.site/t/original/i/a6334929187cedeb366ddfafc92886bf57f1bf499dc1781ec51704c633af07db/RETRASADOS_GIF_1_1.gif" data-mid="170186230" border="0" data-scale="100" src="https://freight.cargo.site/w/592/i/a6334929187cedeb366ddfafc92886bf57f1bf499dc1781ec51704c633af07db/RETRASADOS_GIF_1_1.gif" /> Retrasados, 2021-23, (meaning "late" or "delayed" in Spanish) is a sundial where the words Milagro (Miracle) and Recesión (Recession), in Spanish, replace the hours of the day. The sculpture reflects on Latin American mythologies involving the sun and the logic of economic underdevelopment—present in the countless plans designed to "save" economies, which always seem to return to the starting point, like a kind of Sisyphean cycle. The sundial receives sunlight, and the first hours of the day pass across the letters of the word milagro, eventually moving toward the end of the day, which concludes in recesión. <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/fbb37b611f8cd463a95a9f50bca1934b4286f8c715f2682143cd107101e0ca32/IMG_3304.jpg" data-mid="170186534" border="0" src="https://freight.cargo.site/w/1000/i/fbb37b611f8cd463a95a9f50bca1934b4286f8c715f2682143cd107101e0ca32/IMG_3304.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/7b0c94e27152c4595853d9c03b89dee34e4319bf1dfe11ae003198df98e1d545/IMG_3311.jpg" data-mid="170186544" border="0" src="https://freight.cargo.site/w/1000/i/7b0c94e27152c4595853d9c03b89dee34e4319bf1dfe11ae003198df98e1d545/IMG_3311.jpg" /> Retrasados, 2021 Carved marble, sun, shadow and geographic coordinates specific to the installation site.100 cm in diameter × 25 cm in height, with a 20 cm base. Retrasados (atrasados, em espanhol) é um relógio de sol com as palavras Milagre e Recessão (em espanhol) substituindo as horas do dia. O trabalho fala sobre as mitologias da América Latina envolvendo o sol e a lógica do subdesenvolvimento econômicopresente nos inúmeros planos para salvar economias, que sempre voltam ao início como uma espécie de Sísifo. O relógio de sol recebe a luz e as primeirashoras do dia percorrem as letras da palavra milagre, e caminham para o fim do dia terminando em recessão. Seiva https://fredericofilippi.com/Seiva Mon, 01 Feb 2021 21:19:06 +0000 Frederico Filippi https://fredericofilippi.com/Seiva <img width="1738" height="1158" width_o="1738" height_o="1158" data-src="https://freight.cargo.site/t/original/i/3c119f88b0c2d552e5bc1989960cc3ea08aca70b4b8b9cb7c57ef8f143f4a2d7/_MG_1361-copy.jpg" data-mid="97381237" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/3c119f88b0c2d552e5bc1989960cc3ea08aca70b4b8b9cb7c57ef8f143f4a2d7/_MG_1361-copy.jpg" /> <img width="1738" height="1158" width_o="1738" height_o="1158" data-src="https://freight.cargo.site/t/original/i/4186bf0ff4e6f5e9d2f2fe12166fb1702d32377a88f478b57f84b214f123b1c3/_MG_1358-copy.jpg" data-mid="97381234" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/4186bf0ff4e6f5e9d2f2fe12166fb1702d32377a88f478b57f84b214f123b1c3/_MG_1358-copy.jpg" /> The paintings from the Sap series are sign-words, that brings natural elements: fire, gold and mercury. They are made by a specialized truck sign painter and represent a popular cultural side. Big, thick, slightly inclined letters write three words meant to be read in distance, by cars after trucks at the roads. “Mercury”, as the messenger, travelled through São Paulo, Mato Grosso do Sul and Mato Grosso, entering the Amazon territory crossing the states of Rondônia and Acre all the way to the city of Cruzeiro do Sul, in the border with Peru and Bolivia. The main way of river contamination in the amazon forest, mercury is used to separate gold nuggets from dirt. In the process, it spreads in the waters and contaminates rivers, therefore damaging water supplies for people and animals. <img width="841" height="611" width_o="841" height_o="611" data-src="https://freight.cargo.site/t/original/i/8d4d595568d1350efd33fbacc21333a9fe6b905e35b5a7c7d2030d8bad1aea87/MERCURIO2.jpg" data-mid="98204181" border="0" data-scale="61" src="https://freight.cargo.site/w/841/i/8d4d595568d1350efd33fbacc21333a9fe6b905e35b5a7c7d2030d8bad1aea87/MERCURIO2.jpg" /> <img width="841" height="611" width_o="841" height_o="611" data-src="https://freight.cargo.site/t/original/i/ca21bffbe48976571fe6608a625ad60c8e8a4abd760a871f974e0bf4150ae583/MERCURIO3.jpg" data-mid="97381889" border="0" data-scale="55" src="https://freight.cargo.site/w/841/i/ca21bffbe48976571fe6608a625ad60c8e8a4abd760a871f974e0bf4150ae583/MERCURIO3.jpg" /> “Fire, in its raging red letters, has left São Paulo with destination to argentinian Patagonia, arriving at Tierra del Fuego.The photographs registers were made by the truck driver, then mounted in wood plates. In one of them, it reads “polar”. “Polar fire”, an involuntary verse, casual meeting between two significants. Where else did the painting visited? <img width="1181" height="1772" width_o="1181" height_o="1772" data-src="https://freight.cargo.site/t/original/i/ad9fb50840dcf84970b499f3e6c11d2d2e618289d2dcc83d0f112cd61e93073e/FOGO1.jpg" data-mid="135263820" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/ad9fb50840dcf84970b499f3e6c11d2d2e618289d2dcc83d0f112cd61e93073e/FOGO1.jpg" />&nbsp; &nbsp; &nbsp;<img width="1158" height="1738" width_o="1158" height_o="1738" data-src="https://freight.cargo.site/t/original/i/fb49dec1cfd16573b2fa0a9ccb37349f898335a5bf6e1c8b5bbcbb6968bcf17a/_MG_1357-copy.jpg" data-mid="97381458" border="0" data-scale="37" src="https://freight.cargo.site/w/1000/i/fb49dec1cfd16573b2fa0a9ccb37349f898335a5bf6e1c8b5bbcbb6968bcf17a/_MG_1357-copy.jpg" />&nbsp; &nbsp; &nbsp;&nbsp; <img width="841" height="611" width_o="841" height_o="611" data-src="https://freight.cargo.site/t/original/i/32380065785a27047c3d736f0df413cafc0ad1a4a0baa6254c2f350efb7399b6/FOGO3.jpg" data-mid="97381888" border="0" data-scale="57" src="https://freight.cargo.site/w/841/i/32380065785a27047c3d736f0df413cafc0ad1a4a0baa6254c2f350efb7399b6/FOGO3.jpg" /> “Gold” has left São Paulo, through the state of Minas Gerais, arriving at Salvador. In a sense, it rebuilt the same gold route from colonial period. This same gold still decorates colonial architecture churches, built at that time as a first european inscription in the brazilian symbolic arena. <img width="1738" height="1158" width_o="1738" height_o="1158" data-src="https://freight.cargo.site/t/original/i/0c578f159c82e3e2bd794d2c3add14eea8ad4f404085dfa3cf0aefeaeefdd3a4/_MG_1360-copy.jpg" data-mid="97381236" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/0c578f159c82e3e2bd794d2c3add14eea8ad4f404085dfa3cf0aefeaeefdd3a4/_MG_1360-copy.jpg" /><img width="1158" height="1738" width_o="1158" height_o="1738" data-src="https://freight.cargo.site/t/original/i/e02673fda65761b48737c6d9fe7e1bf89fc6c3f156d01ab4983056e90cd4c130/_MG_1359-copy.jpg" data-mid="97381693" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/e02673fda65761b48737c6d9fe7e1bf89fc6c3f156d01ab4983056e90cd4c130/_MG_1359-copy.jpg" /> Sap, 2019-20Ongoing work 3 versions (Mercury, Fire and Gold) Road miles, latex boards, enamel paint, wood, photographs made by the truck drivers and metal. Mercury is part of the Pinacoteca do Estado de São Paulo Collection &nbsp; Seiva, 2019-20Parte da exposição Terra de Ninguém, Galeria Leme, 2020 As pinturas de Seiva são palavras-signo que trazem elementos naturais: fogo, ouro e mercúrio. Feitas por um pintor especializado em letreiros de caminhões, elas encarnam uma faceta da cultura popular. São letras grandes e grossas, ligeiramente inclinadas, com cores fortes, sombreadas ou contornadas de modo a se destacar visualmente e ser lidas a distância. Mercúrio, fazendo jus à fama de mensageiro, viajou por São Paulo, Mato Grosso do Sul e Mato Grosso, desaguando por ali na Amazônia. A principal forma de contaminação por mercúrio na Amazônia é a mineração de ouro em pequena escala – na qual ele é usado para purificar o metal precioso. Nesse processo, o mercúrio contamina os rios e assim se espalha, destruindo plantas, animais e prejudicando severamente a saúde de todos os habitantes da Amazônia.&nbsp; Já o Ouro, saindo de São Paulo, atravessou o Estado de Minas Gerais e chegou a Salvador. Reconstruiu, de certa forma, a mesma rota do período colonial. Ouro que ainda hoje reveste as igrejas coloniais, construídas naquela época como uma primeira inscrição europeia no campo simbólico cultural brasileiro. A pintura Fogo, com letras vermelhas ardentes, foi instalada como um lameirão (peça que fica presa por cima mas solta embaixo, mais ou menos na altura das rodas) num caminhão comercial. O fogo saiu de São Paulo e se alastrou rumo ao sul, até a Patagônia argentina, pertinho da Terra do Fogo. Pela fotografia feita pelo caminhoneiro em algum momento da viagem, o veículo transportou caixas em que se lê: “polar”. “Fogo polar”, um verso involuntário, fruto do encontro casual entre dois significantes. Por onde mais a pintura passou? Quem a encontrou pelo caminho? Quantos versos involuntários, aos quais jamais teremos acesso, ela produziu? De volta à galeria, essa pintura-lameirão é exposta na fachada, estabelecendo também um circuito com os outros caminhões que por ali transitam. A obra, assim exposta, parece encontrar seu lugar: nem dentro nem fora do circuito da arte, ou, como formulamos anteriormente, ao mesmo tempo dentro e fora dele.*Mercúrio pertence à coleção Pinacoteca do Estado de São Paulo. Este texto é um excerto do texto curatorial de Thaís Rivitti para a exposição Terra de Ninguém. States of mind https://fredericofilippi.com/States-of-mind Fri, 06 Jun 2025 18:10:06 +0000 Frederico Filippi https://fredericofilippi.com/States-of-mind <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/74b94ef2a479447935b2c6b22b1f440aeba379113e6e89d73db427b9f588005f/wHIRL.jpg" data-mid="234268525" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/74b94ef2a479447935b2c6b22b1f440aeba379113e6e89d73db427b9f588005f/wHIRL.jpg" /><img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/80355dfb465132a04dfacbaa5c6e8f2f6672691fd3eab8eb7d7c2547b2f748e6/furaco-2.jpg" data-mid="234268524" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/80355dfb465132a04dfacbaa5c6e8f2f6672691fd3eab8eb7d7c2547b2f748e6/furaco-2.jpg" /> States of Mind,&nbsp;2025 charcoal on raw canvas,&nbsp;195 x 195 cm&nbsp; 160 x 160 cm Horror vacui https://fredericofilippi.com/Horror-vacui Wed, 25 Jun 2025 21:51:40 +0000 Frederico Filippi https://fredericofilippi.com/Horror-vacui <img width="1212" height="818" width_o="1212" height_o="818" data-src="https://freight.cargo.site/t/original/i/f4b5384e9e0e860d9cdf629f7d434a586f43d81911a272bab0265ecac636e764/2025HE_TMF_Frederico-Filippi_tratada_baixa-copiar.jpg" data-mid="248060097" border="0" src="https://freight.cargo.site/w/1000/i/f4b5384e9e0e860d9cdf629f7d434a586f43d81911a272bab0265ecac636e764/2025HE_TMF_Frederico-Filippi_tratada_baixa-copiar.jpg" /> <img width="1222" height="1225" width_o="1222" height_o="1225" data-src="https://freight.cargo.site/t/original/i/73e082ba9a247f6b31744886f34a23aac558fa380402c88d26ea466ec10000fc/HorrorVacui_site.jpg" data-mid="248059090" border="0" src="https://freight.cargo.site/w/1000/i/73e082ba9a247f6b31744886f34a23aac558fa380402c88d26ea466ec10000fc/HorrorVacui_site.jpg" /><img width="2000" height="1291" width_o="2000" height_o="1291" data-src="https://freight.cargo.site/t/original/i/0f69fbc2cffbff44b6964b6d829db8a4bca862e51ac20c4e766c3dbcbf1f4818/2025-09-22_MASP---Histrias-da-Ecologia---Territrios--Migraes-e-Fronteiras-010-Pano-2-copiar.jpg" data-mid="248063640" border="0" src="https://freight.cargo.site/w/1000/i/0f69fbc2cffbff44b6964b6d829db8a4bca862e51ac20c4e766c3dbcbf1f4818/2025-09-22_MASP---Histrias-da-Ecologia---Territrios--Migraes-e-Fronteiras-010-Pano-2-copiar.jpg" /> Horror vacui,&nbsp;2019 charcoal and oil on raw canvas,&nbsp;100 x 165 cm&nbsp;at MASP collection