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death that was withdrawn from his life through the absence of the
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.
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
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
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
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
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.