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  • Dodiciperformance - photo Carlo Gallerati
  • Dodiciperformance - photo Carlo Gallerati
  • Dodiciperformance - photo Carlo Gallerati
  • Dodiciperformance - photo Carlo Gallerati
  • Dodiciperformance - photo Carlo Gallerati
  • Dodiciperformance - photo Carlo Gallerati
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Dodici (Twelve) as the number of the apostles chosen for the Last Supper with Christ, twelve elected as those chosen by the artist Federico Cozzucoli in this per-formance in order to represent those twelve destined to live for ever. Using the reli-gious iconoclasty, the artist is delegated by the art, that represents him, in order to have a special power: he can choose and decide who is able to share this moment of glory, preferring any compared to others. As it happens in the previous perform-ances played by the artist, as for example: Gloria, CozzuFUcoli e Simonia, in Dodici. Uno alla volta per la prima e ultima volta (Twelve. One at a time for the first and last time) the performance technique consists of a simple improvisation. The improvisa-tion itself is a physical means that the artist transforms in mental self-control, in a sequence of regular and disciplined movements. From one point of view the linguistic meaning comes from the traditional performances defined as "public body" for the importance that the audience gains through the value of the artistic act, to another point of view it is fundamental in Cozzucoli the idea of the exhibition of the body transformed and separated from the identity, it reminds us Luigi Ontani and the holy symbolism of the objects that forms and fill out the scene. Thanks to the object quo-tation and the use of gold, he underlines the holy value, we can also define his art Pop that helps the artist to emphasize the consumerism and symbolic meaning of the object – icons, only apparently frugal.
The double value, with whom the artist interprets the art and the religion, is the same that characterizes the Last Supper, metaphor for the first and last time told in a cyclic path that begins with the First Communion, to which the artist dedicates the sequences of the works realized in vintage, and he ends with the Last Supper, repre-sented also in the self-portrayed "Prima ed Ultima Cena" (First and Last Supper).
In the arrangement of the supper and in the whole work it is not only present the Christian iconography, that is however prevalent because of the origin of the artist. We can also notice elements from other cultures as for example Jewish and Arabic with the intent to represent the multi-ethnic aspect that characterizes the contempo-rary society and shows the artist's interest in various social problems as for example that of racial integration. The hint to Leonardo's Last Supper is not only a mere quo-tation, but it becomes a symbolic link to the last supper, it seals the immortal value of the banquet and joins, with a wise analogy, man to art, as the Last Supper united the Twelve with God.