facebook-icon-web.jpg youtube-icon.png   foto Federico Cozzucoli myhomegallery
  • Genesi 19figure of salt particolar - photo Susanna Beatriz Soriano
  • Genesi 19figure of salt - photo Susanna Beatriz Soriano
  • Genesi 19installation - photo Susanna Beatriz Soriano
  • Genesi 19frame of film "SalÚ o le 120 giornate di Sodoma" printed on sheet of brass
carousel jquery by v5.4



Federico Cozzucoli's creation Genesis 19 and its recalls

If the much used motto "To not Forget" would be sufficient to motivate (or actually title) the collage moments and manners, the highly well arranged composition that Cozzucoli titles "Genesis 19. Somoda", there would be little left to say.

If only we had to judge the salt sculpture that reproduces a figure with its arms tending towards the sky, marked in a geometrical way with the pain of death or even worse, the death of a pain that cannot return.
This is found in Picasso's "Guernica" (1937) when you look at it you know that can-not forget the brutalities of an event and of a historical piece (Argan writes: “Guernica which is the only historical painting in our century, is so not because it represents a historical event, but because it is a historical event”). It could remind us that Guernica's ancient Basque country had been destroyed by the German's bomb-ings. Picasso's choice to use black, white and grey was the most appropriate to deal with the yelling death, death that was withdrawn from his life through the absence of the colour.
Realism and symbolism proportionally fixed create an artistic piece that involves di-rectly who is looking at it, making him protagonist of an enormous torment which is typical of the fresco painting inside which man can live and perceive better. The mis-deed represented not only records the event but it also remains eternal in time….with the noise of the bombs, the people screaming focusing first on the hu-man fierceness and then the political aspect.
If instead to be discussed was only a reproduction, on gold-icon paper, of a film shot of "SalÚ o le 120 giornate di Sodoma" by Pier Paolo Pasolini (directed in 1975), we would recall the circles "MANIE" (Fads), "MERDA"(Shit) and "SANGUE" (Blood) on which the plot of the film is set. The film is about four fascists and their dirty and ex-treme experiences (a duke, a monsignor, an excellency and a president) the four kidnap young people of both sexes and keep them in a villa, to satisfy their sexual desires. This takes place during the Republic of SalÚ.
The entire film is about tortures. It shows how men with a lot of power can abuse and take advantage of other people and other people's bodies for their own depraved desires.
Both religion and politic take part in this carnal hell, which goes way beyond the ac-ceptable limits of mankind, letting themselves go in an arrogance of colour differ-ently from Picasso's one.
The tortures and the freedom in abusing are clearly documented in black and white, white like the colour of the skin and black like the colour of the feces. Pain is repre-sented by figures that are bleeding. They have being injured by the oppression rul-ing. Similar to Picasso's work but here there is the aim to considers the abuse of power by man over man as a current event.

If finally we had to contemplate the transformation into salt of a human figure then we would remember Lot's wife, who had looked back while running away when she had been ordered not to do. (“The sun was rising and Lot had reached Zoar, when God from the sky sent sulphur and fire on Sodoma and Gomorra. The two cities with all the valley, inhabitants and soil were destroyed. Lot’s wife looked back and be-came a salt statue”).

Cozzucoli has arranged a sequence of two physical moments (and three mental) able to summarize important chapters of the existence of mankind.
Power and dictatorship show up again through the device of allegory and a mixture of artistic styles that have passed down important messages in history. Cozzucoli puts together shapes and languages, painting and cinema, pictures and reality, which harmonise method and message.
The truth about violence is passed down by the time and saying, following a course that studies clearly the theme using three main points. All of which remind us that what happens to the figure represented happens also to us. Because time never for-gets.
The event is recorded by previous and qualified historians.
The quotation substitutes any updating that memory might need, enabling the revi-sion as and expression criteria and art procedure.

The two moments from the past that Federico Cozzucoli chooses to represent show the wise use of the language, the careful attention paid and devoted to the past events that appear again in the present. The pain suffered in the past and that returns, the endless and exterminating difficulties that the powerful throw on the weaker ones in different periods of time and are always where there is torment, massacre, killing and what other comes to our mind.
Or simply pain in general with all hits synonyms.
A visual dimension created by Cozzucoli that recalls tyranny without needing to add more or useless undertitles It speaks through the acts that have no way to evade and has no more voice or strength left to scream.
A first silent moment completely torn that teaches the importance of the authentic silence, without passing sentences of guiltiness for looking back in the direction of complete destruction or of swept away memories.
Without coated borders, with mouths kept wide open by the fear of enormous traps and internal explosions that do not forgive. Without any colour imprisonment passed around in a wicked epidermic and organic way that first kills life and then the body.
Certain that it is not necessary to add more.
If the much used motto To not Forget would be enough to remember, there would be little left to add.