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   facebook-icon-web.jpg youtube-icon.png   foto Federico Cozzucoli myhomegallery
S_OGGETTO
MARTIRIUM
DODICI
SIMONIA
COZZFUCOLI
GLORIA
  • Simoniaperformance - video frame frome filming of Christian Nadella
  • Simoniaperformance - video frame frome filming of Christian Nadella
  • Simoniaperformance - video frame frome filming of Christian Nadella
  • Simoniaperformance - video frame frome filming of Christian Nadella
  • Simoniaperformance - video frame frome filming of Christian Nadella
  • Simoniaperformance - video frame frome filming of Christian Nadella
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federico.cozzucoli
federicocozzucoli@gmail.com
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In the middle of a Greek temple, kneeling in front of Veneration statue, the artist wears a tunic shining with golden light. All around the audience, whose faces shine with the same golden seal, looks at the marketing of the art, of the faith and of the existence of an artist. It is the construction of the Institutional Church image, to whom it is immediately associated, in a very narrow analogical relation, to the institutional artist, who lends himself to be bought.


A voice plays in many languages:

"This is not a house of poor people, this is a house of rich men.
Here all has got a worth end a price.
Entry with unction-makeup costs 10 euros.
Twelve CDs with the picture of apostles cost 100 euros each piece.
The Veneration statue costs 1.000 euros.
The temple costs 10.000 euros.
If you want be the artist for one day, it costs 100.000 euros1
for ever it costs 1.000.000 euros2
Please go to the cash desk!"

Federico Cozzucoli’s performance reveals the attempt to reproduce and to get over a series of schemes typical of religion, as for examples the biblical origin of the languages and the birth of Catholic Church, focusing on the sin of Simony, that the artist uses in order to denounce a similar condition that may be found nowadays in the world of art. In fact the artist establishes himself and his works when he begins to sell them: it is immediate the analogy with the Simony, the buying and selling of religion, that, in this case, becomes another ordered scheme of the performance.

The word, in the religious sphere, refers to the sin of buying and selling of faith made by believers.It is not a case that Simony derives from a biblical event, when Simone, who was at first a wizard and then, when he was baptized, became Christ’s disciple. He saw that the apostles gave all the people the Holy Ghost with the imposition of the hands, he belived to gain the same power, giving them money.

In this context, according to Federico Cozzucoli’s point of view, the meaning of Simony is in a very narrow analogical relation to the buying and selling of an image considered “sacred” that, just in this performance, gets ready to be celebrate: that of the artist’s sake.

Like in the previous performance, the relation art-religion, according to Cozzucoli, results to be the key of his works, a world to be revisited in the religious themes, all these subjects are his studies, his common sense of living and the reflex of his personal experience. Through a veiled, but a clear reason of denounce, passing from a spiritual sphere to the artistic one, trying to analyse and deepen the problems related to the contemporary art.The analogy with the religion means the will, in the artist’s mind, to use religious schemes, in a modern way, that seem only a ritualism of manner.


ERICA OLMETTO

1 On the eventual payment of 100.000 euros on behalf of the payer, a daylong exhibition will be held in a top gallery. Cozzucoli, who will guarantee a catalogue, a critical text, and an adequate press of-fice, will supply the works. The proceeds of the eventual sale of the works will be given to the payer together with the property of the works after the exhibition.

2 The eventual payment of 1.000.000 euros will imply the acquisition of the artist’s whole activity: all the unsold works, the rights on the sold ones, his own workshop, his own personal library together with his complete archive.
FEDERICO COZZUCOLI