LIFE OF THE CROSS
show Stefano Sevegnani
A Christ entirely man, a man of worth as are the poor,
the humiliated and offended, migrants, the unemployed and the young people who work have never found.
by Eleonora Fiorani
from 27 March 6 April (merc. sab. 15,00-19,00)
In an era of radical crisis of values, in which the sacred no longer has citizenship of representation in art, Stefano Sevegnani, versatile artist of light and color and lightness, which is always reported in its territory to the inventive process and context, back to reflect on the Stations of the Cross, Via drawing a gaunt and severe, dominated, in the path of its 14 stations, by the presence of the cross and figures dashed on drawing paper so essential for thickening and overlapping lines. Are figures that apparentano with open arms by those who belong to the crucifixes of medieval hagiographies, or with the Christ of Calvary archaic and primitive peasants and popular culture that had so fascinated Der Blaue Reiter Marc and Kandinsky. Figures that we find in the renewal of the language of the early twentieth century, and also in the drawings and doodles of children and aniconic signs of prehistoric cave paintings.
At The Same Time, in tracing severe signs, magmatic and strong expressive declining along with the tragic and the sacred, Sevegnani it reinvents the iconography. His Way of the Cross is inscribed in the essentiality of the white and silver and black backgrounds of the free drawn characterized by nervous gestures and essential. This raises, tracts of dense and shouted blacks, enhanced by the icily white backgrounds, calcined or metallic silver, and only rarely crossed or rather punctuated by coating color, in a game of clumps and voids that "relieve", Way of the Cross of the Poor Cristi and bare life, that has nothing of the majesty iconographic, in which the sacred figures and stories say in the inevitability of the tragic experience, drawing meaning from an exemplary form that is expressed in the symbol.
In the drawings of Sevegnani the suffering and death of Christ, man consecrated, tell us, enrolling, secularly, the current condition of the tragic dimension of life in which he says the problematic character of human existence given the precariousness, where there is no hope and no future. It is no longer the tragic romance, expression of an irresolvable contradiction as Goethe says. E 'rather the expression of the human condition, a way of being in the world, which shall enter not only in the finite, in death, in misery, in pain, but not in the sense of globalization and the crisis of the system in which we live. Christ is then the representative of the outcast of society, is the victim. It 'a Christ fully man, a man of worth as are the poor, the humiliated and offended, migrants, the unemployed and the young people who work have never found. And how is the man Dostoevsky's Underground.
In place of the symbolic and religious history appears with its load of rubble, pain, of infamy and of hopes betrayed and unheard. Every aspect or appearance of this image is here that inhabits the everyday and the family. Thus the Way of the Cross stages, in a modern and topical theater of vision, the presence of power and social and economic injustice, and that the denial of the, in all their forms, in their instruments, in the torture and death of the meat and the pain they cause their victims. Thus the Via with its stations tells the contemporary condition in a "cipher", in which the direction is given "across", exploring situations to the limit, becoming allegory, and meditation on the evil present in it.
And so, rejecting the removal of the tragic feature of the postmodern, Sevegnani revives him, In its essential, showing that the earth and the story of doom shine. It is the fullest expression of the face of Christ with crown of thorns, a face that looks at us and challenges us, a face that is a portrait of every person of worth beyond any religious or ethnic difference, a face that reveals the pain, misery and suffering, and the silence, indifference and resignation that accompany them. So there is not only piety of the narrative, but an iconography in which to recognize and find themselves in the same condition of life beyond the different faiths and stories.
The same exhibition site, space City Art, on the northern outskirts of Milan, whose way of Padua is the emblem of the city polyphonic and multi-ethnic, from many languages and ethnicities, coupled with the fact that the show takes place in the same date of the passion of Christ, become the story and the presence offer a narrative, awaiting a resurrection, that belongs to the earth and the sky. It is first of all awareness and complaint. That, even if you know that, as noted by Hegel, the tolling of the bells says that God is dead and that there is a land without evil, is it not vain to imagine the possibility of another Easter and resurrection of another.