When visiting Diego Marcon’s FRANTI, FUORI!, disquieting shades and shapes can already be discerned on the doorstep. When adjusting my gaze in the darkness, I get a feeling that this exhibition is neither in need of visitors, nor of their approving look. The world of cinema has borrowed its guise for the exhibition, where I can first distinguish a set of film projectors, standing aloof in the darkness, proposing an eternal loop. I realize there is no guided path provided in this exhibition, no anticipatory narrative present: the elements in the space are standing on their own, developing eventually into sculptural proposals.
Upon entering the space I can find a gnome statue, whose posture is something reminiscent of a crucifixion: surrender or a failure are inevitably the first things coming to my mind. Yet, this outdoor garden gnome, in its extra-large format, is not stealing the spotlight: it is placed in the darkness, as if in the background of the ongoing show. This obscure figure provides some key elements of this uncanny universe: having access to nooks and hidden motives, it becomes the manifestation of the unconsciousness, but also, of mistakes of nature – something apart.
Four films on loop, animations on ink and scratches on film, are projected on the surrounding walls. In Untitled– Head falling 01; 02; 04; 05 (2015) abstract, yet organic figures in movement appear: these animated portraits find themselves on the verge of falling asleep and subsequently, of waking up – over and over again. Loud noise fulfilling the space belongs to the fifth film, Untitled (All pigs must die): an extract from Winnie-the-Pooh film, suggesting once again a scene of falling asleep and waking up. The moment is lingering somewhere in between consciousness and unconsciousness: when awake, are we only able to reach fragments of real(ity)?
FRANTI, FUORI! results from a period of residency at Careof. When 7000 videos are at hand, the possibility for exhaustion seems plausible: images become worn and fatigue appears. The focus is turned towards the ontological idea of the archive: here, the artist doesn’t reveal their secrets, but rather, by embracing the mysterious and uncanny dimension of archives and using them as a backdrop, his work gives form to a new hidden element. The exhibition embodies a figure, or rather a feeling, which is detached, out of place, out of time.