new-york

Dario Robleto, Candles Un-burn, Suns Un-shine, Death Un-dies, 2010, digital composite on photographic paper mounted on Sintra, 46 x 65 1/2 x 2".

Dario Robleto

D'Amelio Gallery

Dario Robleto, Candles Un-burn, Suns Un-shine, Death Un-dies, 2010, digital composite on photographic paper mounted on Sintra, 46 x 65 1/2 x 2".

For an “abstract” medium composed of invisible sound waves traveling through air, music generates a considerable number of fetish objects. The idea of performing can itself become a substitute for direct experience: Even the shyest individual may harbor secret fantasies of rock-star success, of driving countless fans to a near frenzy of adulation and identification. But as Houston-based artist Dario Robleto’s recent show, using records, audio tapes, posters, show flyers, and handwritten lyrics demonstrates, it doesn’t take a psychotherapist (or a semiologist) to explain that any projective aspirations on the part of the fan say more about fantasy and possibly fanaticism than about the tangible satisfaction of desires. For Candles Un-burn, Suns Un-shine, Death Un-dies, 2010, Robleto digitally removed the bodies of now-deceased performers from their live-concert album covers, and

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