{"id":3382,"date":"2004-02-03T11:45:12","date_gmt":"2004-02-03T10:45:12","guid":{"rendered":"http:\/\/colomboarte.com\/?p=3382"},"modified":"2026-01-23T11:00:49","modified_gmt":"2026-01-23T10:00:49","slug":"francesco-lauretta-le-metafisiche-2","status":"publish","type":"post","link":"https:\/\/colomboarte.com\/en\/francesco-lauretta-le-metafisiche-2\/","title":{"rendered":"Francesco Lauretta – Le Metafisiche"},"content":{"rendered":"
[vc_row full_width=”” parallax_image=”” visibility=”” css_animation=”” center_row=”” typography_style=”” column_spacing=”” tablet_fullwidth_cols=”” bg_style=”” parallax=”” parallax_mobile=”” parallax_style=”” parallax_direction=”” video_bg=”” video_bg_overlay=”” border_style=””][vc_column width=”1\/1″ style=”” visibility=”” css_animation=”” typo_style=”” drop_shadow=”” bg_style=”” border_style=””][vc_column_text]3.02 – 13.03.2004<\/p>\n

FRANCESCO LAURETTA – Le Metafisiche<\/h3>\n

Galleria Antonio Colombo is pleased to present, for the first time at the gallery, a solo show by Francesco Lauretta, entitled Le metafisiche. The exhibition contains ten new works on canvas, in large and medium formats.
\nLauretta begins with a poetic expression of his roots; he selects a frequent topos in the literary imagery on the so-called \u201csouth\u201d of the world, wavering between charm and holography. His Sicily is the one of tales of processions, rites and miracles, that incredible hybrid of Catholicism and superstition, solemn ceremony and folk traditions, the ancient reality of feast days.
\nIn the evocative, disorienting paintings included in this show the throng gathered to celebrate a religious holiday, or the children whose faces are gently illuminated in a procession, become metaphysical visions that nourish enigmas. The works are painted in an analytical manner, with a sensibility bordering on hyper-realism. This photorealist technique, metropolitan by definition, is intelligently transferred by the artist to a provincial, non-urbanized context filled with contrasts and temporal suspension, taking on the risk and charm of an ambiguous interpretation.
\nThus painting becomes narrative; the work aspires to the universal, epic character of the painting of history. It is intellectual painting, conveying a different way of looking at the role of the artist. As Lauretta puts it: \u201cmany painters today reject personal, emotional gesture. Works are not supposed to have anything to do with belief: they are without religion and ideology, or more exactly they do not want to communicate moral and ethical values\u201d. Instead, for Lauretta painting is all this, and if logic leads us to see painting as a \u201cdead letter\u201d, the possible chance, the artist seems to suggest, is that of the non-logic of being, of metaphysics. \u201cIn the end painting\u201d, Lauretta says, \u201cis not an adversary to be destroyed\u2026 but one to be feared\u201d.
\nA catalogue with a critical text by Roberto Pinto will be available at the gallery.<\/p>\n

Francesco Lauretta<\/strong>: Born in 1964 in Ispica (Ragusa), lives and works in Turin. Solo shows in 2003, 2000 and 1999 at Galleria Carbone.to, Turin; 2002 \u201cMatrimia\u201d, Galleria Sebastiano Amenta, Parma; 1996 \u201cReliquia\u201d, at Studio d\u2019Arte Recalcati, Turin; 1994 \u201cNovecento\u201d at Care Of, Cusano Milanino (MI); 1993 Destinazioni\u201d, Galleria Marco Noire and Studio d\u2019Arte Recalcati, Turin; 1992 \u201cPercorso dal profumo\u201d, Galleria Marco Noire, Turin; 1991 \u201cEnvoi\u201d, Unione Culturale Franco Antonicelli, Turin. Main group shows include: 2002 \u201cManifesTO\u201d, GAM, Turin, and \u201cVideo.it\u201d, curated by M. Gorni and E. Volpato, Ex Convento of San Pietro in Vincoli, Turin; 2001 \u201cPay Attention, Please\u201d, curated by L .Beatrice, C. Collu, F. Castro, MAN, Nuoro; 2000 \u201cA.C. Sicilia 2000\u201d, curated by G. Marziani, Galleria Civica d\u2019Arte Contemporanea Montevergini of Siracusa;\u201dPorta d\u2019Oriente\u201d, curated by L. Beatrice, Bisceglie (BA) and \u201cArte al muro, BIG 2000\u201d Fiat Corso Marconi, Turin; 1997 \u201cNuovi Arrivi\u201d, San Filippo, Turin; \u201cMaestri del colore\u201d, Castello di Barone (TO); \u201dAperto Italia \u201897\u201d, Trevi Flash Art Museum, Trevi (PG); \u201cAlta Marea\u201d, Centro Adriano Olivetti, Ivrea (TO); 1994 \u201cEquinozio d\u2019Autunno\u201d, Castello di Rivara, Turin; \u201cArt is life\u201d, Museo dell\u2019Automobile, Turin; 1992 \u201cArti visive proposte\u201d, Centre Culturel Fran\u00e7ais, Turin; 1989 \u201dLuoghi aperti\u201d, Convento Suore Domenicane, Ispica (Ragusa) and \u201cSicilianova\u201d, Palazzina Cinese, Catania; 1987 \u201c72a Colletiva di Pittura\u201d, Fondazione Bevilacqua La Masa, Venice; 1985 \u201dLa nuova creativit\u00e0, Centro d\u2019Arte Contemporanea, Siracusa; 1984 \u201cAspetti della nuova pittura\u201d, Ex mercato comunale, Avola (Siracusa); 1981 \u201cSenza Titolo\u201d, Unione Culturale, Ispica.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”” parallax_image=”” visibility=”” css_animation=”” center_row=”” typography_style=”” column_spacing=”” tablet_fullwidth_cols=”” bg_style=”” parallax=”” parallax_mobile=”” parallax_style=”” parallax_direction=”” video_bg=”” video_bg_overlay=”” border_style=””][vc_column width=”1\/1″ style=”” visibility=”” css_animation=”” typo_style=”” drop_shadow=”” bg_style=”” border_style=””]

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The Metaphysics of Time<\/h4>\n

by Roberto Pinto<\/em><\/p>\n

The first time I saw a show by Francesco Lauretta was at the Care of space (when it was still in Cusano Milanino), where the artist had installed a single large work composed of almost 10,000 toy soldiers made of wax and modeling clay, all evidently pregnant. A work capable of making a contact between the extremes of life and death, male and female in a simple, direct way, thanks to its interesting formal guise, close to the installations of Antony Gormley or the works the Chapman brothers were to make several years later. In his recent solo show at the Carbone gallery in Turin, along with some paintings Lauretta showed ten videos, in a projection that in a certain sense constituted a show in itself, autonomous, complex, with reasoning on art and sex, mafia and religion. These are just two examples of how Lauretta has proven that he knows how to work in different media with absolute nonchalance and ability.
\nNevertheless \u2014 and this show is tangible evidence \u2013 his work focuses, to an increasing extent, on painting, which has become both its fulcrum and its motor. One is prompted to ask why he makes use of this ancient, difficult technique, to wonder why an artist like Francesco Lauretta gets his hands dirty, strives to find the right balance of an image, loses time using brushes and paints to reconstruct images that already exist, that already have a real consistency in the photographs that are the starting points for his paintings. The answer isn\u2019t easy to find and cannot be one simple phrase. Yet we can state that these paintings are not exactly equal to the photographs; they differ from them in terms of framing and the use of color. We can also add (and this, perhaps, is already a full explanation) that Francesco Lauretta uses this technique for the pleasure of painting, the desire to see the image he has in his mind take form. And image that obviously changes in the progress of the work itself, until it achieves that equilibrium that permits the artist to say: \u201cyes, that painting is really finished\u201d. But as always we will have to try to approach reality from different directions, hoping that in the meantime that nucleus of deep truth hasn\u2019t already fled, far from the place we are trying to catch it.
\nLet\u2019s try starting with a few facts: these paintings share a common starting point, that of the photographs each of us keeps in his or her home. Fragments of reality, of families, of our past; the most common way\u2014 and one that may remain characteristic of the 20th century \u2014 to give a recognizable (and at times standardized) visage to memories, to give physical form to our identity, or at least a part of it. Photos that mix a bit of melancholy sadness with the comfort of self-recognition, not just through the images that depict us, but also through the people, things, rituals, environments, moments that belong to our past, that are familiar to us. Visions that have their own richness, but which are greatly enlarged in the process of the painting \u2014 just as happens with memories of childhood \u2014 and rendered precious \u2014 as only the passing of time can do \u2014 by that slow manual work through which the photos take on a much stronger communicative capacity, a emblematic quality that can be shared by those who would otherwise be excluded.
\nTo go beyond, to take images and re-manipulate them with a slow, empirical method, can also be seen as the method applied by the artist to trigger a process of refinement of the gaze, a \u201ccleaning\u201d of the image. The entire work of painted transcription is simply a continuous elaboration: addition of details, in certain parts of the painting, and subtraction of information in other parts. Emphasizing and canceling, the paint forces a process of analysis and simplification of reality. And it is precisely for these reasons that, in a case like that of Francesco Lauretta, we can talk about a technique that, in turn, becomes a further instrument of knowledge. The aim of the artist, however, is never that of recovering the concept of realism. We can deduce this with just a superficial analysis of the colors used in his paintings: exaggerated, saturated hues; offspring of digital culture, but also of the warm Mediterranean light; influenced by Pop Art but also by folk iconography. Therefore his work appears as a \u201cnon-realistic\u201d process of description of experienced reality.
\nThere is also another aspect of the painting of Francesco Lauretta that calls for reflection, and is probably the one Francesco would have used first: what he defines as the \u201cheaviness\u201d of the painting. Naturally this is a heaviness that is the result of a laborious process, but we could define it as being \u201cformal\u201d as well as \u201cphysical\u201d. There is one very cumbersome burden we cannot, in fact, overlook: that inevitable and equally weighty bulk imposed by tradition, and the unavoidable comparison with it. The history of art, here in Italy, has an even greater specific weight than elsewhere. In the Bel Paese it is nearly impossible to paint with nonchalance or carelessness (at least for conscientious artists), overlooking the long, rich past of this discipline. A heaviness that, in other senses, can be seen as compensation for the lightness of all the images of consumption that crowd every space and every moment of our lives. It is also the weight of memory, which as we were saying is our identity, but at the same time deprives of the freedom to break out of a rut already traced. This is certainly not an unconscious desire for restoration of the past, nor is it a nostalgic search for lost time, an allusion to some golden age that has come to a definitive end: you can be absolutely contemporary while grappling with an ancient language and selecting our recent past as subject matter. Perhaps, to simplify things, we can say that Francesco Lauretta talks about heaviness because \u2014 to paraphrase the beginning of Italo Calvino\u2019s Six Memos \u2014 \u201cI think I may have more things to say about heaviness\u201d. And just as all Calvino\u2019s work represented a progressive removal of the weight of things, the path of Lauretta can be defined as a continuous re-burdening of that world of images that seems to exist in a parallel universe, out of touch with the heaviness of everyday life.
\nHis historical and geographical roots are also heavy, and while they may at times be ignored, they are never erased or denied. Personal memories and places crossed with appropriate irony and a refined critical stance. Sicily, loved (and hated) as one loves (and hates) one\u2019s own father and mother. But also a Sicily sought and displayed as a wider metaphor for the human condition in general (at least in the more affluent countries), a place in which one attempts to keep up with the speed of technological and cultural change and, at the same time, to clutch, struggling, at traditions and rituals (or, mutatis mutandis, to invent new ones, like the Celtic roots or the Po River divinities of the separatist Lega Nord) that make us feel safe, members of a community, wrapped in \u201cour\u201d tradition, sheltered by it from the global economy that is trying to overwhelm us. Francesco Lauretta looks at Sicily but maybe he sees us, while we look at our image reflected in the mirror. He looks at the speed of time present and compares it with that of his work that marks the passage of each single instant through a physical, bodily appropriation of reality.
\nThere is one last element (which could also form the premise for all these thoughts) we should consider: the evident narrative vocation of all Francesco Lauretta\u2019s works, his videos or installations, but also very explicitly visible in his recent paintings. To tell a story is to share that particular experience (it doesn\u2019t matter if it was invented or actually lived), to make it accessible to others. Lauretta\u2019s stories come from his life but, at the same time, they represent interruptions of everyday existence, due to their ability to amaze us. Looking at his paintings we are dismayed by those masses of persons and colors captured in magical moments, out of the ordinary, the moments of holidays. In the same way, we are surprised and fascinated by the formal richness, the colors of the decoration of the staircase that forms the backdrop for the harangue of Don Peppino in Abracadabra.
\nLe metafisiche is the title of the exhibition, but perhaps we should step back from the images of De Chirico and his continuous attempt to make his painting still and lifeless, shifting the representation into another dimension, higher than reality. Life itself contains the metaphysics Lauretta refers to in the title. Running into an elegant, unabashedly feminine statue like that of St. Vito in the church of Santa Annunziata in Ispica (painted in Lontano da ogni giorno) is a metaphysical experience. So is the little angel girl of La patetica seen against the view of Ispica, between the transcendent and the spectacular, like the hand of an adult that passes that technological device and is placed there to bring that mystical flight down to earth. Perhaps what Lauretta has in common with the historic metaphysical movement is an element of irony, but he fills it with vitality and kneads it together with the passage of time. There is the world, which can no longer be kept outside the frame. It\u2019s no coincidence that the last of the paintings, Dolce, the artist has made for this show depicts a funeral, that of his grandfather, who bore the same name, Francesco Lauretta. Death takes the stage, the paradigm of interruption of that eternal present of the metaphysical paintings, but also of the repetition of everyday gestures, so much the focus of artists in recent years. It is time, with its heaviness, that bursts into the scene, the true deus ex machina of the whole show. Time holds sway over these paintings as it does over our life, even when it has been temporarily abandoned, metaphysically suspended.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”” parallax_image=”” visibility=”” css_animation=”” center_row=”” typography_style=”” column_spacing=”” tablet_fullwidth_cols=”” bg_style=”” parallax=”” parallax_mobile=”” parallax_style=”” parallax_direction=”” video_bg=”” video_bg_overlay=”” border_style=””][vc_column width=”1\/1″ style=”” visibility=”” css_animation=”” typo_style=”” drop_shadow=”” bg_style=”” border_style=””][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row full_width=”” parallax_image=”” visibility=”” css_animation=”” center_row=”” typography_style=”” column_spacing=”” tablet_fullwidth_cols=”” bg_style=”” parallax=”” parallax_mobile=”” parallax_style=”” parallax_direction=”” video_bg=”” video_bg_overlay=”” border_style=””][vc_column width=”1\/1″ style=”” visibility=”” css_animation=”” typo_style=”” drop_shadow=”” bg_style=”” border_style=””][vc_column_text]3.02 – 13.03.2004 FRANCESCO LAURETTA – Le Metafisiche Galleria Antonio Colombo is pleased to present, for the first time at the gallery, a solo show by Francesco Lauretta, entitled Le metafisiche.…<\/p>\n","protected":false},"author":2,"featured_media":3379,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[52],"tags":[],"post_series":[],"class_list":["post-3382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-year-2004","entry","no-media"],"yoast_head":"\nFrancesco Lauretta - 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