Cozzucoli’s event-exhibition, edited by Elena Marelli and set up in the
porch of San Clemente Church, wants to celebrate death looking back
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.
Text dedicated to artist
and published into the catalog firstname.lastname@example.org
“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…