"And at the ninth hour Jesus cried with a loud voice, saying, Eloi, Eloi, lama sabachthani? which is, being interpreted,... Read More
"And at the ninth hour Jesus cried with a loud voice, saying, Eloi, Eloi, lama sabachthani? which is, being interpreted, My God, my God, why hast thou forsaken me?" (Mark 15, 34-35)
In a world where, - quoting Nietzche -"God is dead(1)" and where the Judaeo-Roman law has fallen, someone responded to Christ's cry for help: the Good Samaritan - in the end - went on to free the son of man from crucifixion; the figurative one where he has been held over the centuries by the iconographic tradition and iconophilia of Christian worship.
Crocifisso lives in the remnants of an accomplished act, a crucifixion witnessed only by organic remains that, like an Ariadne's thread, narrate the story backwards and - starting from the end - connect, contaminate and dialogue with the works they encounter and pass through.
Inevitably, to follow the narration of Crocifisso from the beginning to the end (or from the end to the beginning) is also to experience a separate work, a choral installation, which comes to life through the transit of remains, every time they encounter another work or, simply, encounter themselves.
Crocifisso creates itineraries capable of connecting parts of an exhibition, rather than others, in a pre-established order that is not necessarily linear.
Crocifisso is the second work in the Esecuzioni series.
(1) - F. Nietzche, La gaia scienza, a cura e trad. it. di Carlo Gentili, Torino, Einaudi, 2015, pp. 130-140
