In City of Cities, each individual work offers a multiple vision of contexts the artist has worked with, highlighting the idea of the city as a changing identity, revealing the tension underlying society and its development.
With the alternation of the works, the spatial arrangement of the exhibition reconstructs real urban architecture in the Museum rooms, turning them into the City of Cities. According to Walter Guadagnini, “the installation could therefore be portrayed as the plan of a city, with its streets and corners, and the viewer is invited to transform himself in the flaneur of Baudelairian memory, wandering through this labyrinth aimlessly”, where the individual sculptures emerge from the dark emblematically as individual visions and as one single body.
This is therefore a new interpretation of the concept of sites, and here it becomes a complex body, with a stratified gaze on the existing, its signs, and their interpretation: cuts, serigraph images and the colours of Plexiglas all convey a personal idea of each photographed context, attributing it with the uniqueness of an experience that Candeloro is offering the public so they can experience it from his point of view.
In this world monuments and sites, whether famous or anonymous, are continuously being reinterpreted, making a different approach really possible to what we already know, and that is portrayed here as a new environment and urban reality. The relationship between light and time also becomes important, in particular in relation to the more intimate soul of art: Candeloro says, “Plexiglas slabs of different colours become slabs that are transparent but coloured, like an infinity of the dimming of time of a painting that is made of signs, spaces, material, an articulated stratification of the signs of time, images of cities and forms revealed in continuous transformation as a result of the movement of the vision of the whole, from the change of the line of vision and perspective, which lingers on the detail of a clear fragment of an instant”.
Once again this exhibition is confirmation of the vocation towards experimentation and the studies on visual perception that are so close to Mariano’s heart.

Palazzo Fortuny