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  • Il dialogoadvertising of the exhibition poster 6x3 - photo Andrea Biavati
  • Il dialogothe exhibition and the cycle of frescoes - photo Marcello Mantegazza
  • Il dialogothe exhibition and the cycle of frescoes - photo Marcello Mantegazza
  • Il dialogothe work "Davide e Golia" - photo Marcello Mantegazza
  • Il dialogothe exhibition and the cycle of frescoes - photo Marcello Mantegazza
  • Il dialogoparticolar of the work "Donna vestita di sole" - photo Marcello Mantegazza
  • Il dialogothe exhibition and the cycle of frescoes - photo Marcello Mantegazza
  • Il dialogothe work "Giuditta" - photo Marcello Mantegazza
  • Il dialogothe work "Moltiplicazione" - photo Marcello Mantegazza
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The Importance of Dialogue in the artistic operation designed by Federico Cozzucoli for the convent of St. Antonio, located near Oppido Lucano, is confirmed by the value placed on communication with the religious theme. Inserted in a particular context such as the convent of the Franciscan monks near an ancient village in the Basilicata and in tune with the cycle of frescoes of the most historically important in the area, the exhibition presented on the project "Sacred art, ancient and contemporary", is characterized by careful research conceptual and visual, in an attempt to create a kind of ongoing relationship with the pre-existing works through the inte-gration and dialogue.
The aim of the project is to leave intact the intrinsic value of the works in full respect of their indigenous identity. The artist has deliberately asked to leave unchanged the previous state of the rooms of the convent, so as to enhance the value of the fres-coes from a didactic point of view and recognizing the primary role of the ancient art in the initiation of his entire artistic career
The use of religious iconography, constant feature in the artistic production and per-formance realized by Cozzucoli, certainly facilitates this combination that is not ran-dom but is the "glue" that connects the two worlds, the old and the new in a mature and symbiotic relationship. Thanks to art the artist's role in this context becomes functional to his poetry but also to the sacred place where is going to operate, offer-ing in terms of artistic and cultural moments of reflection to the issues of historical and contemporary. The installation of the works, made with mixed media and often with the help of photography and painting, follows the sequence of the rooms where there are frescoes by Giovanni Todisco by Abriola, building in a narrative sequence of integration and strengthening in key contemporary of existing images and their reli-gious significance. Looking at the frescoes of Todisco you can see how precious frag-ments of painting resume precisely the narrative and symbolic content of Scripture scrolls from religious commissions, the monks of the monastery of St. Antonio.
Given the presence of the trilogy Melkisedek, David and Moses, depicted in the lunettes of the large windows in the first room the man in arms represented by Todisco – according to an interpretation consistent Zurlo the lender the entire work commissioned by the Friars – is instead identified by Cozzucoli with the figure of King David. With respect to these considerations, the work dedicated to the episode of David and Goliath, in which we find specific references to disguise war, interacts with the figure in the fresco by reinterpreting the biblical passage. Also, in the firstroom the artist chooses to set up the work dedicated to Mother Teresa and Princess Diana, homage to the biblical passage painted by Todisco in the second room. The decision to place the installation in the previous room it is due to the presence of a window overlooking the courtyard where there is a well, the main focus of the scene of the episode of the Samaritan woman. The depiction of the woman of Samaria that draws some water to give drink to Jesus, the artist brought the blessing of Mother Teresa and Princess Diana leans towards the source from which to draw water of re-demption. With the same interpretation Cozzucoli plays more solemn biblical pas-sages uploading more the meaning of the Dialogue, that of all the cultural operation undertaken. Introducing new points of view for the viewer, who will then have the feeling of being involved in a narrative characterized by a deep religious intimacy, the contemporary artist intervenes in the fresco where Todisco tells the story of Judith inserting in the reinterpretation of the incomplete modern Judith beheading Holofernes, offering self-portrait of Caravaggio obvious flavour. The presence in the same room of the statue of the Madonna, The woman clothed with the sun, denotes the intention on the part of Cozzucoli to highlight the analogy with the biblical pas-sage represented by Judith Todisco where it refers to her as "blessed more than all women who live on the earth". In the last room, where Todisco has painted the Biblical story of the "Manna in the desert", the artist, realizing The Multiplication of the loaves, suggests the connection with the passage in the Gospel of John on the "Loaves and Fishes" where he quotes the passage from Exodus and which drew Cozzucoli interpreting the meaning of bread in his last works on display as a symbol of the Eucharist.
Referred to the words of Christ "I came that those who do not see may see, and those who see may become blind", the artistic operation ends with the last work. The first and last time set up under the fresco of Todisco dedicated to the passage of "the man born blind". The figures of Cozzucoli are faceless, as if they were dazzled by too much light, an allusion to the light of Christ, who opened the eyes of those who wanted to know God and blinded those who did not believe in the redemption preferring the darkness and the darkness of death.