EXHIBITION n.89
EXHIBITION TITLE: DOPPI E I FLUIDI
ARTIST: FRANCESCO TOTARO
PERIOD: 4 DECEMBER 2004 - 5 FEBRUARY 2005

The situation in which Francesco Totaro’s pictorial-digital reflections find themselves , in the exhibition that opens on the 4 th of December in Verona, is that from which they’ve come in recent years, the most significant news of the debate on images. Totaro – taken by a negative removal in comparison to the total modification in which, towards the research on the digital image, and above all irritated by the ease in which the executers of banal programs reach the knot of the icon – has developed a practical gesture that, relating itself to the technique of fluids, of the theatre of the uncovered windows of the images and of the paintings, tries to open a different dimension in the construction of the surface, delivering us mysterious drawings of the sensation and vision. What is Totaro effectively questioning? Through a sceptical acceptance of the digital program and a discussion of the numeric totality of the images, Totaro seeks to pass though the digital with a suggestive pictorial gesture. A sort of rebellion to the potential of the diagram of the machine, that which by now – through a total un-personalization of the social fabric of the visual arts – re-proposing in post-modern keys those that are the postulate or the constraints to break, in the modification of the binary system “0-1”. The works ask a question, in this way, through a representative system and the of the un- representative: the photographs depict the faces with a sort of zoom that enlarges the details of the figure and then of un- representative: the photographs depict the faces with a sort of zoom that enlarges the details of the figure and then of the stempera; the subject is hence fixed in the act of its movement; the intervening un-figurative elements, that tend to disarrange the action, delivering us a double portrait, something that modifies itself with the human action and invites the spectator in side the image. Starting from here, the double techniques are amplified: from one side one sees the acrylics and the enamels on the canvas and on from the other side digit printing on forex. The technical coupling in this way has multiplied: the portrait (un-portraits), the theatres (un-theatres) and the fluids acting in excess and in the tension unreal camouflage themselves, leaving the informal surprise of the process and of the actions that waits to colligate itself without interruption of anything else before our eyes. A de-formation or (de-formatting) of the finished body!

SELECTION OF SOME OF THE WORKS ON DISPLAY