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  • cozzuFUcoliperformance - photo Massimo Cama
  • cozzuFUcoliperformance - photo Massimo Cama
  • cozzuFUcoliperformance - photo Massimo Cama
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Federico Cozzucoli’s event-exhibition, edited by Elena Marelli and set up in the porch of San Clemente Church, wants to celebrate death looking back life.
Two companions will lead the guest in a circular path made up Federico Cozzucoli’s works, personal objects, video installations (edited by Paolo Assenza) and music by Giovanni Mirabile. The event will be enriched by Massimo Cama and Guido Laudani’s pictures.

Federico Cozzucoli, with his constant interest in icon, supported by theological stud-ies, realizes in a modern way works, that tell us about the everyday life in a holy way, he takes pictures of real life and he mixes them with precious materials. With these he wants to focus on it, in this way he emphasizes and gives a partial sight of the world, in fact he suggests in the audience a provocatively shock and at the same time a critic point of view obtaining by a mystic and religious value of mankind.

The artist suggests and asks about an observation in order to find the value “to be” a human being. In this performance, that is not profane, the artist wants to accuse, in a ironic way, the fear of the death seen as an obstacle to live completely.

The exhibition is a collection of objects putted on the floor, which describe and tell us about the dead and it represents an unexpected death, an event that we can not organize, but we can be aware of it. This stylistic choice is given by the necessity to underline the sudden arrival of the death, an event that encloses the question about the meaning of life. Putting up a funeral is useful to state that in the awareness of death we can find the consciousness of life.

ELENA MARELLI


Text dedicated to artist and published into the catalog www.plot@rt.europa

“And still mourning has been, up till our days, the pain by excellence, whose manifestation was legitimate and necessary”. The French historian Philippe Airès has written much on death and dying, on mourning practices that have forever accompanied man in his relating to ultimate cessation full of tears and downcast looks. Expressing condolences often becomes a task from which we would like to be excused as is form a too costly wedding present, bat western tradition imposes participation and obliges to suffer collectively. Being present at the last farewell to deceased is leit motiv clothed in black that unfailingly appears while we live certain that we will live forever. Cozzucoli, to win an immortality of the soul that would leave the public to judge, has tried to die before the black lady demanded his surrender. He went, gave up, stopped. On occasion of fake wake he has gathered guest from exhibitional events and personal affects and effects that would portray his having been. The art of dying thus becomes dying artfully, dying not in public as with a traditional seppuku, but for the public to exemplify that which will inevitably happen. It is not a spectacle and no one is tring to disturb: a dialogue is proposed that covers and discovers the necroculture so that those present will accept its presence independently of official announcement of bereavement received by mail. I certainly am not the first person to point out that Arte (Art) and Morte (Death) have the same extension…

STEFANO ELENA
FEDERICO COZZUCOLI