opera
ORA PRO NOBIS
| categoria | Installazione |
| soggetto | Politico/Sociale |
| tags | CulturalInquiry, EthicalReflections, NuucoArt, MergingNarratives, SocialCommentary , SilenceAndArt, ArtisticNarratives, MoneyAndPower, CorruptionExposed, HumanRelationships, InvestigativeArt, SpiritualCorruption, ContemporaryArt, EthicalValues, ArtAsDocument, CorruptionInstitutions, CosaNostra, ChurchHistory, OraProNobis, ArtAsInterpretation |
| base | 0 cm |
| altezza | 0 cm |
| profondità | 0 cm |
| anno | 2020 |
Mix Art - Fotografia, sangue, legno, inchiostro, ago. L'opera è una installazione composta da tante piccole opere
ORA PRO NOBIS by the artist NUUCO is an explorative work that does not question the existence of God, but focuses on the history of the men of the Church: their relationships, interests and worldly power, corrupted by the crushing weight generated by the stories of other men, from the world of organised crime and Cosa Nostra.
In going beyond the aesthetic and emotional realm, this work becomes a document, giving us an opportunity to observe at close quarters this bond of silence which now re-emerges through the communicative medium of art.
The result is an altar that presents itself without censorship, where the presence of the money god becomes the medium – this time not spiritual. There is the Vatican of men. The presence of God, not reached. The artist tells the story using newspaper articles and images of saints, merging them into a large installation built and linked together almost like a perpetuating ritual. The project symbolically uses a thin red line to bind all men together, indiscriminately, in the narrative of this investigative work. The project symbolically uses a thin red line to bind all men together, indiscriminately, in the narrative of this investigative work. But why should this project by NUUCO be considered a work of contemporary art? This question offers food for thought, as we consider how NUUCO's research might convey a message capable of restoring to us the ethical value of human relationships.
Corruption, worldly power interwoven with the spiritual, I assume, are treated by the artist as the outcome of a phenomenon: any fact or event we can observe and, therefore, judge. Part project, part document, it narrates the evolution of what we already know of this story. The artist becomes an interpreter, decoding the many different documents woven into a testimony similar to an archive record, which through art, gives us a vision of the era we are now living through.
ORA PRO NOBIS is a large fresco that takes shape under the light of the wax candles illuminating the scene, where nothing is mystified or interpreted.
Money, corruption and omertà (code of silence) are the themes of this study, articulated in the repetition of numbers, places and modus operandi, which NUUCO presents almost as a litany to be learned by heart with the rhythmical clinking of coins as its soundtrack. The work may appear provocative, even scandalous, but in reality, "silentium" reigns supreme here. This silence should not be confused with a ritual born of a particular spiritual discipline that requires quiet and the absence of noise to find inner peace. The silence perceived from ORA PRO NOBIS is the silence described by Seneca and Cicero: the person praying not only persuades but remains silent with equal effectiveness, generating a great noise.
Roberto Sottile
ORA PRO NOBIS by the artist NUUCO is an explorative work that does not question the existence of God, but focuses on the history of the men of the Church: their relationships, interests and worldly power, corrupted by the crushing weight generated by the stories of other men, from the world of organised crime and Cosa Nostra.
In going beyond the aesthetic and emotional realm, this work becomes a document, giving us an opportunity to observe at close quarters this bond of silence which now re-emerges through the communicative medium of art.
The result is an altar that presents itself without censorship, where the presence of the money god becomes the medium – this time not spiritual. There is the Vatican of men. The presence of God, not reached. The artist tells the story using newspaper articles and images of saints, merging them into a large installation built and linked together almost like a perpetuating ritual. The project symbolically uses a thin red line to bind all men together, indiscriminately, in the narrative of this investigative work. The project symbolically uses a thin red line to bind all men together, indiscriminately, in the narrative of this investigative work. But why should this project by NUUCO be considered a work of contemporary art? This question offers food for thought, as we consider how NUUCO's research might convey a message capable of restoring to us the ethical value of human relationships.
Corruption, worldly power interwoven with the spiritual, I assume, are treated by the artist as the outcome of a phenomenon: any fact or event we can observe and, therefore, judge. Part project, part document, it narrates the evolution of what we already know of this story. The artist becomes an interpreter, decoding the many different documents woven into a testimony similar to an archive record, which through art, gives us a vision of the era we are now living through.
ORA PRO NOBIS is a large fresco that takes shape under the light of the wax candles illuminating the scene, where nothing is mystified or interpreted.
Money, corruption and omertà (code of silence) are the themes of this study, articulated in the repetition of numbers, places and modus operandi, which NUUCO presents almost as a litany to be learned by heart with the rhythmical clinking of coins as its soundtrack. The work may appear provocative, even scandalous, but in reality, "silentium" reigns supreme here. This silence should not be confused with a ritual born of a particular spiritual discipline that requires quiet and the absence of noise to find inner peace. The silence perceived from ORA PRO NOBIS is the silence described by Seneca and Cicero: the person praying not only persuades but remains silent with equal effectiveness, generating a great noise.
Roberto Sottile
