SpazioA presents Il Disinganno, a solo exhibition of Francesco Carone (1975, Siena), of whom the exhibtion Ciclope at Museo Novecento, Firenze, is open until February 28, 2019.
Having survived four decades, the ideal Dantesque median threshold, Carone acknowledges the uselessness of second thoughts and that regret serves even less purpose. Choices, as such, always represent only the least worst alternative, the most appropriate course of action at the moment they were made. Acting contrary to one’s own best interests is therefore impossible, and whenever it may appear instead feasible, it is only an illusion generated by dichotomy’s gap between what we only choose to believe right and what our subconscious really induces us to pursue.
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In a sort of conscious abandonment of logical meaning, the artist proceeds through self-analysis in the attempt to penetrate deeper, more instinctive levels, and in doing so once again revises his (or her) personal mythology populated by idols as solitary and as concerned as the artist (perhaps because it is almost always a ‘he’) with understanding and making himself (or herself) understood, blind divinities (always two-faced) obsessed by the race of time and silent archetypes induced by and deduced from disparate metaphysical universes, setting them up inside an enormous but highly fragile net, symbolically knotted over years of fatigue, to remind us that our every action and choice, including even those that grant us freedom, will one day prove to be – as if reversed in a mirror – nothing but traps, fishnets impossible to escape because despite the fragility of the twine they are made of, in the end, represent the only reason or reality that justifies our having lived until this moment.
It is only from this vantage point that the authentic meaning of the title (above and beyond the reference to the sculpture done by Francesco Queirolo in 1753/54 in Cappella di Sansevero in Napoli) may be perceived as most certainly meaning disillusionment in its most radical and definitive sense of finally being able to unburden oneself of the (often illusory) hope that sustains the artist and the uncertain work at hand.
Francesco Carone was born in Siena in 1975 where lives and works. He graduated from the Academy of Fine Arts in Siena. Selected solo exhibitions: Ciclope, Campo Aperto, curated by Rubina Romanelli, Museo Novecento, Firenze (ongoing); Natura morta con lettera, MAGra, Granara (2018); Boudoir, Galleria SpazioA, Pistoia (2016); Muta Bellezza, Galleria SpazioA, Pistoia (2013); Rendezvous des amis, curated by Marinella Paderni, Museo Civico, Siena (2012); Horror vacui, EX3 Centro per l’Arte Contemporanea, Firenze (2010). Among the group exhibition he has taken part there are: Nonostante questo buio, curated by Stefania Margiacchi and Alessia Posani, Spazio Siena, Siena (2018); Solo Figli, curated by Sergia Avveduti and Irene Guzman, Padiglione Esprit Nouveau, Bologna (2016); La torre di Babele, curated by Pietro Gaglianò, Officine ex-Lucchesi, Prato (2016); Ripensare il medium: il fantasma del disegno, a cura di Cristiana Collu and Saretto Cincinelli, Centro per l’Arte Contemporanea Casa Masaccio, San G.Valdarno, Arezzo (2015); La sottile linea del tempo, curated by Marinella Paderni, Fondazione Museo Miniscalchi- Erizzo, Verona (2015); Contemporary locus 1, curated by P. Tognon, Luogo Pio della Pietà, Istituto Bartolomeo Colleoni, Bergamo (2012); Brightlight / Darklight cureted by Ludovico Pratesi e Valentina Ciarallo, American Academy, Roma (2012).Courtesy SpazioA, Pistoia. Photo Camilla Maria Santini