NEWS BIOGRAPHY PERFORMANCES SOLO EXHIBITIONS GROUP EXHIBITIONS
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  facebook-icon-web.jpg youtube-icon.png   foto Federico Cozzucoli myhomegallery
CRIB
P-FILE
IL DIALOGO
CRISTI, SANTI E MADONNE!
GENESI 19
GENESI 3
OPERA POSTUMA
PERFORMANCE VIDEO PERFORMANCE WORK

  • Cribruins of the Church of Saint Lucia - photo Matteo Campulla
  • Cribruins of the Church of Saint Lucia - photo Matteo Campulla
  • Cribvideo istallation - photo Matteo Campulla
  • Cribvideo istallation - photo Matteo Campulla
  • Cribvideo istallation - photo Matteo Campulla
  • Cribvideo istallation - photo Matteo Campulla
  • Cribvideo istallation - photo Matteo Campulla
  • Cribvideo istallation - photo Wake Art
  • Cribvideo istallation - photo Wake Art
  • Cribvideo istallation - photo Wake Art
  • Cribvideo istallation - photo Wake Art
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Paola Corrias
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Paola Corrias
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallazione - foto Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Fabio Petretto
  • Cribvideo istallation - photo Davide Mocci
  • Cribvideo istallation - photo Cristiana Sedda
  • Cribvideo istallation - photo Cristiana Sedda
  • Cribvideo istallation - photo Cristiana Sedda
  • Cribvideo istallation - photo Paola Corrias
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federico.cozzucoli
federicocozzucoli@gmail.com
+393473327194
The art of Federico Cozzucoli is configured between painting and cinema and his video installation Crib is a manifestation evident. Cozzucoli crosses, in fact, two very differently memorable film about the history of Christ: The Gospel According to St. Matthew by Pier Paolo Pasolini, 1964, and The Passion of Mel Gibson, 2004; superimposing the two files it shakes them "destroyed" by video artist makes good material for a new dramatic creation. The cancellation of the narrative makes room for ghostly images with shadows and colors renewed, while the figures are barely comprehensible in games of references disturbing. Pasolini's Gospel is the text "stronger", this was handed the gold color, reminiscent of the frames of Gothic paintings, alternating with a sepia "unnatural". On all stretches occasionally bluish tint, which is also typical of Christian iconography, which leaves room for recognizable traits of the sky, and the moon "naked" as in Oscar Wilde's Salome, the star under which passed all human history.
Pasolini's masterpiece, then, at times, appear suddenly faces extraordinary protagonists and extras, too, already in the mind of the director evoking figures straight from the history of Italian classic, but at the same time, chosen from the underclass Roman, already in those early sixties, was about to be deleted from "dopostoria". For Cozzucoli, perhaps, is part of this, absolutely impossible in the modern world not only to reflect, but nor can I listen to heavy words of the Gospel of Matthew, so the faces of the actors not Pasolini are solely intended to survive the cancellation of an attempt lofty rhetoric and not to speak of the life of Jesus. the only chance is a kind of ordered chaos where the viewer must have the curiosity for a few minutes longer, for two hours to find the "gaps" in what was a spectacle, a narrative. A few frames, so, it contains another, and then repeats, especially towards the end of the Crucifixion, where the two films, curiously traveling perfect combination until the announcement of the Resurrection. Moreover, the death of Christ is the cornerstone of both films: Pasolini for the humanization of the divine is in those bloody scenes, for the first time shown on the big screen for this topic, and in the identification of the suffering of 'injustice, placing as the paradigm of choice real mother Susanna as an interpreter of Our Lady of Sorrows. For Gibson film is a performance of a vile torture infinite, which has its terrible moment nell'affaccendarsi, at the feet of Christ, a following of captors mercilessly. The alternation of the two films, also makes sense in the common location of Matera, so the views are interchangeable, although Matera 1964 Pasolini ("the panoramic alleys pure lime / porous, with the threads of the blazing sun profiles, / and the empty shadow of the great Impressionist, buzzing in blue ...) is, however, different from that recovered, albeit beautifully, the world tour of Mel Gibson.
The film runs and catches fire, evoking the flames of certain paintings of Francis Bacon, but the alleged tongues of fire does not burn, in this case, a representation of power, but showed, once again, the inability to attenzionarsi a profound messages , to doubt, to reflections. For this reason, the sound is a buzz confused: the sound of the two works is intertwined with the story of Matthew in Latin and not language that comes out is free of any attempt at communication.
The "destruction" and "recreation", this video installation is not without a sense of hope, at least in culture, is also a suitable placement in a particular area in Cagliari, in the Marina district, crossed by ghosts of destruction, in fact, that evoke the devastating bombing of World War II, but also of real archaeological recoveries, to look into yet another contamination, even architectural sense of artistic creation.

ELISABETTA RANDACCIO
FEDERICO COZZUCOLI