“Elpino – How is it possible than the universe can be infinite?
Philotheo – How is it possible than the universe can be finite?
Elpino – Do you claim that you can demonstrate this infinitude?
Philotheo – Do you claim that you can demonstrate this finitude?
Elpino – What is this spreading forth?
Philotheo – What is this limit?
Giordano Bruno (On the Infinite Universe and Worlds, 1584)
Posthumous is a special project featuring 6 videos for the first time together, three already presented in our solo exhibition Le Vergini at Guidi&Schoen gallery in Genoa (2011), two presented in Sinfonia in Bianco Minore exhibition with artist Daniele Giunta at Traffic Gallery and at Basilica di S. Maria Maggiore in Bergamo (2012-13), while the last one is a new just edited work, entitled L’Ascesa (post.).
Three white girls are the protagonists of all the videos, depicting a kind of story in fragments, a symbolic circular journey of ascent, from life to death and eternity. The videos will be simultaneously screened in three big walls of the gallery, they are very short and obsessive loops.
I’ve taken the title for the show, Posthumous, from the classical music vocabulary: when a composition is presented for the first time only after the death of the author … as the marvellous Nocturne Op. 72, no. 1 in E minor (Posth.) *
The video installation and site specific project Posthumous by Corpicrudi designs an articulated symbolic
narrative. Its unitary sign retraces itself in the archetypical figure of the cycle, continuous, infinite, of the
eternity of being. Where the flourishing, unarrestability of the pronouncement of nature, rhythmical, is time
in its double negative. Death.
Posthumous (from Latin, postumus) presents six black and white films. Works which trace a symbolic
apparatus of representation, coherent and stratified. The first three, entitled studio number one, two, and
three, originate from the project cycle The Virgins, and open a sequenced narrative addressing the theme of
threshold and of limits. Then, two videos pieces follow of the Symphony in White minor. And, finally, an
unpublished work, The Ascent (post.). Works, these last, that ritualize the idea of departure, of the voyage
and raising. Figures that, intended in a purely symbolic sense, reaffirm the sense of cyclical continuity, as
in eterno ritorno.
The presentation of these three filmed blocks, takes place synchronically, adopting three points of
projection, and, consequently, three diverse screening surfaces. Identified by the precise architectural
conformation of the exposition space.
A unitary organism of significance takes form. A story, continuos, circular, of transfiguration and of
Specifically, the first unit, divided into three video fragments entitle The Virgins, paints three distinct
portraits.Three bodies, young, of woman. Isolated, evanescent, fixed, that, lying on a grassy mantle in the
open countryside, allow themselves to be filmed in a fragmented sequence, spasmodically. Here emerges,
slowly, the hard eroticism of the land, intended as parent. Mother. Which convulses, and eternal sensuality
arises as limen, sacral symbol, to exceed.
These first three works construct the first station of a path of initiation, that continues in the cycle of the
video pieces of the Symphony in White Minor. In which, stands, preemptory, the circular symbol. The
infinite circle, without limits, of the classic iconography – the circle of the three Gracies – moving, sweetly,along soft contours. Dancing in a round. That, then, moves its own tension in a rectilinear movement, in the video The Ascent (post.). Here, the three young women march, ascending along the ridge of a grassy
slope. They climb the mountain. The gnosis is consumed as they rise. Ritualistically.
The alchemical work concludes in the last video, which resolves the negritude of the earth, property of the
initial mystical path, begun in the first of the video cycle, in the diaphanous fixity of the three faces. It is the morning sky that dazzles the gaze. Enlivening and rendering it bright.
Immobility, magic, that prelude, inevitably to the next, yet another, inevitable departure from the
motherland. The humid ground upon which the bodies in the initial video are poured.
Posthumous describes, in this way, a symbolic cycle, of concatenations, of postponement and of delays.
An Ouroboros, closed on itself, that traces a mystic path of images.
To then open itself to the research of a philosophical stone, incorruptible.
New symbol of beauty and of life, in its eternal repetition .
A brief introduction to CORPCIRUDI’s work and philosophy.
CORPICRUDI is a visionary artistic project by Italian artists Samantha Stella and Sergio Frazzingaro
(Genoa, they live and work in Milan, Italy).
The artists’ work has been shown in international contemporary art galleries, museums and theatres; they
work with writers, poets, choreographers, stylists, visual artists, composers and cultural magazines and
networks.Their artistic careers have evolved over the years through the different idioms they use directly –
photography, video, installations containing structural and bodily elements – revealing their reflections on
the body, death, beauty, harmony and eternity.
In addition to solo and group exhibitions in art galleries, including Sinfonia in Bianco minore with artist
Daniele Giunta at the Basilica di Santa Maria Maggiore and Traffic Gallery in Bergamo (2012), Le Vergini
in Guidi&Schoen gallery in Genoa (2011) and Aeternitas at the Cathedral in Molfetta (2012), the ancient
prisons of the Cittadella in Alessandria (2011) and Castello Aragonese in Taranto, home of the Italian
Navy, with scientific direction by Achille Bonito Oliva (2010), projects presented at Galleria Civica in
Trento, Centro per l’Arte Contemporanea Luigi Pecci in Prato, Musei di Strada Nuova in Genoa,
Auditorium Parco della Musica in Rome and Auditorium Mart in Rovereto. They have participated in
international premieres with choreographer Matteo Levaggi and Balletto Teatro di Torino with Primo
Toccare and Le Vergini in the theatres of New York, Lyons, Belgrade and Miami as well as prestigious
Italian theatres such as Teatro Comunale in Bologna. Reviews of their work have been published in the
Financial Times and The Brooklyn Rail in New York; they have been the subject of a documentary which
aired on Sky Classica TV in 2011 and a publication for Les Cahiers Européens de l’Imaginaire 2012 at the
Ceaq-Sorbonne in Paris.