Exhibitions, Italy, Palermo, 17 March 2016
Thursday, March 17, 2016, at 18:30, in the offices of the MQ Realty Via Francesco Lojacono 10, in Palermo, will be inaugurated the Roberto Fontana of paintings titled "CERCO Casa degli Specchi con Vita Interiore"(LOOKING House of Mirrors with Inner Life), curated by Marga Rina (Margherita Musso), the Panormitania blogger.
The exhibition brings together a fine selection of self-portraits by the artist from Palermo, made between 2006 and 2016. In them, in fact, Roberto Fontana is often portrays in front of a mirror while his image doubles or triples itself, fragmenting.
The mirror becomes, then, a kind of alter ego deformed with whom dialogue and reflection in search of a life (and views) interior comfort, just like evokes the title of the exhibition, nicely structured as a real estate ad. Duplicating though, emphasized by its recent and peculiar double canvas, it generates the crushing of one identity mirror recompose as sharp and painful pieces of a puzzle.
We live a selfie-demeaning daily, anti-social social and impromptu moments of vacuous celebrities, no sense of imaginative and harmless nonlieux. We live the triumph of appearing at any cost that makes us wax dummies for the pure enjoyment of others, that melts us to the first sunny day. And Roberto Fontana somatizes disorientation and depersonalization of the contemporary spirit to project them vigorously on canvas large format, from which emerge emaciated faces, sorrowful faces and bodies in agony. And as for the optical virtuosity with convex mirrors of Escher, in the artist from Palermo to prevail are the deformation of bodies and faces, often bent contortions shouted, opening beyond the canvas that pervades and distorts the visitor with strong feelings , the reversal of the right with the left, which is also an estrangement from his image that coexists with a paradoxical self-recognition.
The only glimmer of hope is its mirror reflection, by which nourishes his inner balance, in which projects his aspirations and with which compare his troubles. The mirror is the instrument with which he loves more dialogue seeking feedback, confirmations and escape. "Painting, for me, is food, you find the balance" confessed Fontana and project himself in his self-portraits is an intimate confession and internalized in search of a very personal view pacified.
As he wrote on the subject Lacan, the mirror is an "imaginary" field, a different place from our "subconscious", where everyone puts aside the aspirations to "mediate" with the neighbor. And Roberto Fontana, an anti Narciso of the third millennium, do not look, mirroring, intercourse with her beloved double, but longs to bypass his face, to pierce his eyes and find his peace in the historical era of upheaval of values and virtual earthquakes.
The exhibition will be open until March 25, 2016, every day (except Sunday) from 16:30 to 19:30 with free admission.
info: panormitania@gmail.com; www.panormitania.altervista.org
The exhibition brings together a fine selection of self-portraits by the artist from Palermo, made between 2006 and 2016. In them, in fact, Roberto Fontana is often portrays in front of a mirror while his image doubles or triples itself, fragmenting.
The mirror becomes, then, a kind of alter ego deformed with whom dialogue and reflection in search of a life (and views) interior comfort, just like evokes the title of the exhibition, nicely structured as a real estate ad. Duplicating though, emphasized by its recent and peculiar double canvas, it generates the crushing of one identity mirror recompose as sharp and painful pieces of a puzzle.
We live a selfie-demeaning daily, anti-social social and impromptu moments of vacuous celebrities, no sense of imaginative and harmless nonlieux. We live the triumph of appearing at any cost that makes us wax dummies for the pure enjoyment of others, that melts us to the first sunny day. And Roberto Fontana somatizes disorientation and depersonalization of the contemporary spirit to project them vigorously on canvas large format, from which emerge emaciated faces, sorrowful faces and bodies in agony. And as for the optical virtuosity with convex mirrors of Escher, in the artist from Palermo to prevail are the deformation of bodies and faces, often bent contortions shouted, opening beyond the canvas that pervades and distorts the visitor with strong feelings , the reversal of the right with the left, which is also an estrangement from his image that coexists with a paradoxical self-recognition.
The only glimmer of hope is its mirror reflection, by which nourishes his inner balance, in which projects his aspirations and with which compare his troubles. The mirror is the instrument with which he loves more dialogue seeking feedback, confirmations and escape. "Painting, for me, is food, you find the balance" confessed Fontana and project himself in his self-portraits is an intimate confession and internalized in search of a very personal view pacified.
As he wrote on the subject Lacan, the mirror is an "imaginary" field, a different place from our "subconscious", where everyone puts aside the aspirations to "mediate" with the neighbor. And Roberto Fontana, an anti Narciso of the third millennium, do not look, mirroring, intercourse with her beloved double, but longs to bypass his face, to pierce his eyes and find his peace in the historical era of upheaval of values and virtual earthquakes.
The exhibition will be open until March 25, 2016, every day (except Sunday) from 16:30 to 19:30 with free admission.
info: panormitania@gmail.com; www.panormitania.altervista.org
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