Félix Fernández

[BIO] 

In the artistic practice of Félix Fernández, research on the contents is always a priority, to which the form adapts by reinforcing the message, in constant communication and empathy with the viewer, in a quest to be a mirror where the public feels reflected.+

[TXT] 

“I walk the path that leads to myself”. 

Following the flash of video creations, we delve into this focus, into a small section of the path that leads to the depths of Félix Fernández as a creator and as a person. +

Tiempo revisitado 3

— World premiere —

DV PAL | Sound | Color | 3’ 40’’ | 1996-2005

Recovery of homemade material, when YouTube did not yet exist, nor Instagram, in which Félix Fernández recorded himself dancing in his room as a teenager. This work is part of the series Times revisited in which the author dialogues with his past, with images that were not born with the will to be shown to the public, but which, when revised from the present, appear to us as autobiographical insights about an upcoming future.

Deconstrucción de principios pop

DV PAL | Sound | Color | 3’ 50’’ | 2002

Taking a public action usually requires some preliminary rehearsal to overcome fear or insecurity. These essays are guided by conventional behavior patterns: we usually start from a stereotypical idea of the action and try to repeat it according to our possibilities. What if we overlapped all the rehearsals for that action and saw them all together, one on top of the other? This video reflects on how pop culture is built and shows us from an experimental and aesthetic place the fragility on which the idea of perfection in mass culture is built.

Planta 23; 03:45

HD video | Sound | Color | 4’ 40’’ | 2009

Floor 23, 03:45 is a reflection that places the human being in front of its own creation, an ultra-civilized world that amplifies its disconnection with its natural essence.
This video is inspired by the films Solaris (1972) by Andrei Tarkovsky and Lost in translation (2003) by Sofía Coppola, which, like the latter, has been recorded in a Tokyo hotel located in a skyscraper where it is possible to contemplate the entire city from the window.
An audiovisual work that places us in the face of lack of communication and isolation as irremediably present concepts in our contemporary culture.

Composición en forma de escape para 4 dispositivos móviles y un monte

— World premiere —

HD video | Sound | Color | 7’ 51’’ | 2014

Interdisciplinary work that mixes performance, video and streaming video to reflect on the possibility of the individual to escape from the drift of the contemporary world in relation to their dependence on technology, social networks, the exacerbated documentation of everything that surrounds us and their submission to the world of the image and the spectacle.
This artistic proposal affects the real possibility of the contemporary individual to withdraw from all contact with technology, and consequently from the generation, consumption and communication of images.
We live in an era that, as the German philosopher and anthropologist Feuerbach said in 1843 in The Essence of Christianity, “prefers the image to the thing, the copy to the original, the representation to the reality, the appearance to the being”. This presentiment was written a few years after the invention of the camera, intuiting the impact it could have on the social world; our day to day has been built under these premises and with the rise of telecommunications and the digital age have made our lifestyle be completely mediated by the world of images.

Happytime

— Galician premiere —

HD video | Sound | Color | 11’ 49’’ | 2017

The seven chapters that make up this foundfootage work show us in a kaleidoscopic and colorful way a material that tells us about one of the great themes of the human being, the search for happiness. Can all the audiovisual documentation of “the death of the swan” by Maya Plisetskaya coexist in the same work with a parrot that does not stop screeching “Here and now” and the tenderness of the Teletubbies giving a lesson on gender violence?
Happytime is articulated as if it were a self-help manual and, together with other previous works by Félix Fernández such as Primetime, Dreamtime and Shocktime, make up the Times series.

inter-

DV PAL | Sound | Color | 1’ 45’’ | 2001

This work was a collaboration between Félix Fernández and his brother Xavier Fernández. It reflects on the limits of individual identity and relationships of interdependence.

Take me by the hand and take me to some interesting place, one of those strange places that you know and that puzzle me so much.
Contradict my words and questions, my tastes.
We will reach a logical agreement where your radical thinking merges with my flexible structures.
Let’s make an appointment with something neither yours nor mine, or rather, with something that you and I know, something very exotic and with which we can impregnate ourselves.
Share with me your opinion and I will tell you my most hidden wishes.
You have chosen a beautiful moment to be with me: I will tell you about my worst experiences.
It won’t be difficult for you to understand me, you know me very well.
Learn from what I reject and I will hold onto your vaguest thoughts.

Ensayo nº1: sobre la creación

— Galician premiere —

DV PAL | Sound | Color | 5’ 20’’ | 2004

Through the free association of images, concepts, movement and sound, Félix Fernández elaborates a discourse on creation. He proposes a construction moved by intuition and feelings.
This work is articulated as a response to a media situation, in which a girl in full puberty has a nervous breakdown in the middle of a televised casting.
Underlying this crisis is a way of conceiving what it is to be an artist as a topic in which he / she is a media star and is always in a state of constant visibility, always showing what others expect of him / her. The author, in response, builds an intimate moment, in which he lets himself be carried away by the music in his room and superimposed images appear that work as mental ellipsis, reinforcing the content of the action.
Essay #1: On Creation is a declaration of principles about what it means for Félix Fernández to be an artist.

ICH ALLEIN AUF FREMDEN WEGEN (Me In Stranger Paths)

HD video | Sound | Color | 6’ | 2010-11

This video, shot in a summery Berlin, tells us about the adaptation of the human being to an unknown environment and how identity adapts to patterns that are not proper to feel integrated. For this, different conceptual parts are proposed that guide us in this adaptive process: contemplation, participation, control, repetition and ignorance.

In this work the author becomes an interpreter and narrator, and makes the viewer
an accomplice of his thoughts in relation to his surroundings, although he finally reveals a secret that will change the meaning of everything that was said during the video. The video delves into the identity of the immigrant, the awareness of difference and inclusion or exclusion within the dominant group.

Materialización para la eternidad

HD video | Sound | Color | 6’ 14’’ | 2013

Materialization for Eternity addresses the intentional and artificial construction of a living icon where its protagonist refers us directly to the common characteristics of other iconic characters such as: the exacerbated documentation of their image and their permanence in time, the motivation to transcend beyond one’s life and the need to give a higher meaning to one’s existence through their image and their actions, all this as a video document with the appearance of a retro-futuristic narrative.

Tiempo revisitado 3

— World premiere —

DV PAL | Sound | Color | 3’ 40’’ | 1996-2005

Recovery of homemade material, when YouTube did not yet exist, nor Instagram, in which Félix Fernández recorded himself dancing in his room as a teenager. This work is part of the series Times revisited in which the author dialogues with his past, with images that were not born with the will to be shown to the public, but which, when revised from the present, appear to us as autobiographical insights about an upcoming future.

inter-

DV PAL | Sound | Color | 1’ 45’’ | 2001

This work was a collaboration between Félix Fernández and his brother Xavier Fernández. It reflects on the limits of individual identity and relationships of interdependence.

Take me by the hand and take me to some interesting place, one of those strange places that you know and that puzzle me so much.
Contradict my words and questions, my tastes.
We will reach a logical agreement where your radical thinking merges with my flexible structures.
Let’s make an appointment with something neither yours nor mine, or rather, with something that you and I know, something very exotic and with which we can impregnate ourselves.
Share with me your opinion and I will tell you my most hidden wishes.
You have chosen a beautiful moment to be with me: I will tell you about my worst experiences.
It won’t be difficult for you to understand me, you know me very well.
Learn from what I reject and I will hold onto your vaguest thoughts.

Deconstrucción de principios pop

DV PAL | Sound | Color | 3’ 50’’ | 2002

Taking a public action usually requires some preliminary rehearsal to overcome fear or insecurity. These essays are guided by conventional behavior patterns: we usually start from a stereotypical idea of the action and try to repeat it according to our possibilities. What if we overlapped all the rehearsals for that action and saw them all together, one on top of the other? This video reflects on how pop culture is built and shows us from an experimental and aesthetic place the fragility on which the idea of perfection in mass culture is built.

Ensayo nº1: sobre la creación​

— Galician premiere —

DV PAL | Sound | Color | 5’ 20’’ | 2004

Through the free association of images, concepts, movement and sound, Félix Fernández elaborates a discourse on creation. He proposes a construction moved by intuition and feelings.
This work is articulated as a response to a media situation, in which a girl in full puberty has a nervous breakdown in the middle of a televised casting.
Underlying this crisis is a way of conceiving what it is to be an artist as a topic in which he / she is a media star and is always in a state of constant visibility, always showing what others expect of him / her. The author, in response, builds an intimate moment, in which he lets himself be carried away by the music in his room and superimposed images appear that work as mental ellipsis, reinforcing the content of the action.
Essay #1: On Creation is a declaration of principles about what it means for Félix Fernández to be an artist.

Planta 23; 03:45

HD video | Sound | Color | 4’ 40’’ | 2009

Floor 23, 03:45 eis a reflection that places the human being in front of its own creation, an ultra-civilized world that amplifies its disconnection with its natural essence.
This video is inspired by the films Solaris (1972) by Andrei Tarkovsky and Lost in translation (2003) by Sofía Coppola, which, like the latter, has been recorded in a Tokyo hotel located in a skyscraper where it is possible to contemplate the entire city from the window.
An audiovisual work that places us in the face of lack of communication and isolation as irremediably present concepts in our contemporary culture./span>

ICH ALLEIN AUF FREMDEN WEGEN (Me In Stranger Paths)

HD video | Sound | Color | 6’ | 2010-11

This video, shot in a summery Berlin, tells us about the adaptation of the human being to an unknown environment and how identity adapts to patterns that are not proper to feel integrated. For this, different conceptual parts are proposed that guide us in this adaptive process: contemplation, participation, control, repetition and ignorance.

In this work the author becomes an interpreter and narrator, and makes the viewer
an accomplice of his thoughts in relation to his surroundings, although he finally reveals a secret that will change the meaning of everything that was said during the video. The video delves into the identity of the immigrant, the awareness of difference and inclusion or exclusion within the dominant group.

Composición en forma de escape para 4 dispositivos móviles y un monte

— World premiere —

HD video | Sound | Color | 7’ 51’’ | 2014

Interdisciplinary work that mixes performance, video and streaming video to reflect on the possibility of the individual to escape from the drift of the contemporary world in relation to their dependence on technology, social networks, the exacerbated documentation of everything that surrounds us and their submission to the world of the image and the spectacle.

This artistic proposal affects the real possibility of the contemporary individual to withdraw from all contact with technology, and consequently from the generation, consumption and communication of images.

We live in an era that, as the German philosopher and anthropologist Feuerbach said in 1843 in The Essence of Christianity, “prefers the image to the thing, the copy to the original, the representation to the reality, the appearance to the being”. This presentiment was written a few years after the invention of the camera, intuiting the impact it could have on the social world; our day to day has been built under these premises and with the rise of telecommunications and the digital age have made our lifestyle be completely mediated by the world of images.

Materialización para la eternidad

HD video | Sound | Color | 6’ 14’’ | 2013

Materialization for Eternity addresses the intentional and artificial construction of a living icon where its protagonist refers us directly to the common characteristics of other iconic characters such as: the exacerbated documentation of their image and their permanence in time, the motivation to transcend beyond one’s life and the need to give a higher meaning to one’s existence through their image and their actions, all this as a video document with the appearance of a retro-futuristic narrative.

Happytime

— Galician premiere —

HD video | Sound | Color | 11’ 49’’ | 2017

The seven chapters that make up this foundfootage work show us in a kaleidoscopic and colorful way a material that tells us about one of the great themes of the human being, the search for happiness. Can all the audiovisual documentation of “the death of the swan” by Maya Plisetskaya coexist in the same work with a parrot that does not stop screeching “Here and now” and the tenderness of the Teletubbies giving a lesson on gender violence?
Happytime is articulated as if it were a self-help manual and, together with other previous works by Félix Fernández such as Primetime, Dreamtime and Shocktime, make up the Times series.

Félix Fernández

The focus on Félix Fernández is a journey through the author’s extensive career, from his first works to those made in recent years, tracing an overview of his personal imaginary, the thoughts and motivations behind his creations.

Thursday 28 oct | 16:30 – 18:00h

Fundación Luís Seoane