After the extraordinary exhibition Cittŕ delle cittŕ at Palazzo Fortuny in Venice, and thanks to the opening to new environments in his work (Frammenti di Luoghi, piazza Petrarca, Padua; Intimi Luoghi, at Villa Pisani Bonetti in Bagnolo di Lonigo; Contenitore del Tempo, in Castelfranco Veneto), through Parallele Visioni Francesco Candeloro wants to present a new interpretation of his complex, ongoing research.
Starting from a study on modes and forms of seeing, Candeloro has developed a strong interest in languages and signs of light: once they are projected in an iconic and environmental vision, they give birth to visual, photographic and complex art works of the most different nature.
The exhibition, taking as a starting point one piece seen at Palazzo Fortuny, intends to build a narrative path through such different phases, searching for the deepest relations among them, describing each step and focusing on yet unnoticed critical points.
The first artwork to welcome the visitors sets the priorities for the universe of images and signs. Quotidiani Movimenti (Kassel), already exhibited at Fortuny, is the ideal centre of both the exhibition and of the present research of the artist. In this type of works, panes of screen-printed plexiglass are superimposed to an environmental sculpture underlining the possibility of multiple vision and image as an act, created by a poetic and cognitive path. The panes are cut in correspondence to the particular points that for Candeloro denote unmistakeably the identity of a place, and offer a close-up viewpoint on the importance of elements recurring in each work of the gallery, each item being a clear example of that.
The photographic and screen-printed image reflects itself also in the role played by light in the pictures, here exposed in a large group narrating the "time of light" [Tempi della Luce], that inevitably leaves its marks on the film, representing the image strength and potential the territory possesses.
But from the signs and the relationship with light, another kind of research starts: the artist, through its Books [Libri], shows a new trend he wants to follow.
Like the sculptures in Palazzo Fortuny, Libri demonstrate the possibility of change and of different interpretations. It’s a complex of coloured paper and acetylcellulose sheets that can be superimposed in various patterns. Once they are closed, they look like a box, while when they are open, they invade all the space in different ways according to the colour patterns and signs on their surface.
But part of the true aesthetical and poetical leitmotives underlying the artist's work is painting, here represented by canvasses that almost have the depth of three-dimensional objects. In them, the sign falls - like in Libri - showing all the strength of free reasoning, instinct, emotion.
Sign, image and experience of the artwork melt together in the wake of a timeline that, as the artist himself says, “is a means to narrate the innumerable possibilities of perception, it's the time of a glance, of a clic". The space fraction you need to let "images deposit, and then take them again, identifying in them the experiences already lived, and those still to live”.
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