
Apocalissi Gnostiche
Apocalissi Gnostiche
Four -year project on the Holy Scriptures 2021 ~ 2024
What is the matter?
Will last forever?
All that was born
All that has been created
All the elements
of nature are intertwined
embraced each other
All that has been composed
will be decomposed
And everything will return to the root.
After The creation (2021), Numbers (2022) e Apocalypse (2023), Apocalissi Gnostiche The search for the revelation of the apocalyptic writings continues, giving scenic body to some NAG Hammadi codes, An ancient textual treasure recently and random discovery (Egypt, 1945), Built with dark and flashing narrative sequences, full of cryptic images, radical and burning, that indicate unknown roads to get to the new knowledge.
The reason for Lenz's search in the folds of the Gnostic Codes, whose dating dates back to the first century after Christ, It lies in the need to be narrated by a different apocalyptic – thus already processed by past and present history – to be 'illuminated' by a new and divergent revelation. The Gnostic apocalypses announce with words-image the advent of another human wisdom_non-human, ageless, orderless, without will, A Sophia who invites us to travel the path of the linguistic paradox to return to the root and be guided in the storms of the subject of the present by a 'female born from the female'. The Apocalypses of Adam, Pietro, Giacomo and Paolo represent an inexhaustible and powerful dramaturgical and image source, beyond the multiple philosophical and theological interpretations, Since they are attributable to the reality of the world we live, to the human condition of every single human being.
The currents of ideas inspired by gnosticism are part of the contemporary collective imagination, have produced art over time – da William Blake a John Milton -, while the female figure in Pistis Sophia (Faith wisdom), becomes the subject of surprising dramaturgical research, considering that the authority, The right to ask and the presence of women does not appear in any other ancient religious writing. In particular, Maria Maddalena, human incarnation of knowledge – gnosis – speak sixty -seven times, receives the praises of Jesus, explains the passages that the male apostles do not understand and in the Gnostic vision represents the female bride and counterparty of Christ. .
The fine tip of the soul The battlefield of imagination is as wide as the universe, the seismic roar that overwhelms every border of reality reaches the peak of a concert of light and dark where everything seems to stop, the mutant shapes and the space around, in unison with the amazing electromagnetic waves. This thought introduced John's apocalypse into the vision of Lenz and with the Gnostic apocalypses that horizon will be widening, When you swallow in the vortex of the dark belly, all the wonderful lights of the catastrophic battles and the prospects of the new world that the work revealed to fatal beings will be all the lights. On the other exit of the great dark cave, even brighter, images of other worlds rise again, Other universes, Colossal matter and energy re -emerge, The set of eons, The fullness and totality of divine powers, The discovery of the light of truth, the Pleroma as a large unlimited white hole from which they are expelled, emanate and not generated new divine entities. Imagination, knowledge, Philosophy approprily appropriate to new archetypes, The original texts become complex alchemical compounds, mysterious, The verb becomes cryptic and needs new revelations, of new apostolic witnesses and prophecies. In the new apocalyptic time of the Gnosis, the crossing of the imagine reflections/visions that make up the archaic world and the new worlds are not for everyone. Only those who have the "end of the soul" or "the angel in the soul" can access it. Only those who make the dream real will be Salvo. New figures emerge, one in particular, that of Maria di Magdala. Through an intermediate world, In a mediation between the divine and the human, In a place and time imagine Maria Maddalena sees, And it is the first to see what no one else can see. Can listen and can reveal, He cannot touch but he will only be able to love even more the one who has already loved and loves. “The language of sacred scriptures is that of the images and symbols that belong to dreams, rather than the concepts of the sciences. The apparition that manifests itself to Myriam of Magdala - internally and externally - is spirit and body, That's what Myriam a ánthropos does, a complete human being_ " (The Gospel of Mary, Maria di Magdala, Jean-Yves LELOUP, Editrice, 2011). Think about how the fate of the current world could change if "complete human beings" through the collective imagination, the collective unconscious that makes the ego equal to us, The same identical original gesture, they could make real always dreamed existence, another human being even more complete within an always complete nature. The poetry that writes of good and evil, of the angel that goes up and of the angel falling, of the jealous angel of Lermontov who chase away the angel of the sky "_e in the celestial /slow /slow heater sinking.", Art in every complex form as complex is the human being, and in particular the theater that emanates thought and action through a mortal body such as that of Christ and Maddalena, These refractions of form and matter and knowledge regenerate the state of affairs and the world, they warn and formulate prophecies on the destinies of each, Like sentinels that scrutinize the horizon for new apocalypse, For new images to imagine and make real. What is the resurrection? In the perfect disorder Suspended horizontally in an interior marked by the work worker at the time of the first industrial machinism, The columns exfilted by the facade of the Venetian Church of the Maddalena, The wise disciple preferred by Jesus, establish an exorbitant space, excess, deviant from the rule of vertical useful to the faithful obedients, kneeling and dreamless. They oppose, So lie down and disarmed, to the low order → high, Hard rule that hierarchizes the climb and the descent into the plastic-moral pyramid of bodies and volumes. So unnecessarily aligned, they allow us to escape the spiritual dizziness of the double long neck – of the Madonna and the column behind him – Parmigianino lighting and the sublime horror of the double truncation – fleshy of Christ and marble blackened by the blood – in the Flage of Caravaggio. There is no glory in the reality of man suffering on the cross, but only terrible, unbearable pain, For this we love the Savior told in the Apocalypse (gnostics) Di Pietro who smiles at us from the tree to which he hangs and that, in the inevitable suffering of the torture, It is replaced by a 'lendorpo' to his resemblance. Transported by these turbulence of the imagination, converted to the sofa of the thoughts of Tortora and to the bodyless kisses, The four columns of neoclassical memory float in the swampy space of life activa such as boats or paper airplanes that children suspend with the hand and push into the void with the impertinent breath of innocence. For the physical accounting of the true-function, these four sisters with a heavy invoice also take flight and stand out in the air giving life to a space-time of pure intuition, to a field of pure sensation in which to embrace the shadow and laugh at the dark. Apocalissi Gnostiche Creation Maria Federica Mazatri ~ Pititta Maria Dolores Pesce – Curtain An entrusted incandescent matter, before being able to cool like a magma, to the usual hand (and the heart) wise of Maria Federica Maestri who takes care of the composition, the installation and wraps of the scene. A scene with a dark background, A withdrawal of the mind and soul, with an enlightened access door (art and faith?), marked by disturbing columns horizontally and degrading, to represent the suspension of time and therefore of the logos, under which, In ironic and self -propelled washcars, or in 'false sofas’ like the bourgeoisie that produced them, between red worms that remind us and to them the being transeunte of death itself, The bodies of the actors are collected to compose the choir of the word, which has no other sense outside itself, who does not say but 'suggests', Hoading the door to a freedom so intimate that it is almost unattainable.
Francesco Pititto
Then comes the Lamb and time stops, as on the event horizon.
There is a regeneration and an image of regeneration.
You really have to be reborn through the image.
The image must rise through the image…
Vang. Fil 67,10
Maria Federica Masters
Sacre Project Scripture 2021_2024
Dramaturgy Francesco Pititto
Composition ~ Installations ~ wraps Maria Federica Masters
Musica Andrew Azzali
Interpreter Tiziana Cappella ~ C.L. Grugher Marcello Sambati ~ Sandra Soncini ~ Carlotta Spaggiari
Setup care Giulia Mangini, Alice Scartapacchio
Project care Elena Sorbi
Organization Ilaria Stocchi
Communication ~ Press Office Elisa Barbieri
Diffusion ~ graphic care Alessandro Conti
Light design Alice Scartapacchio
Assistant Giulia Mangini
Technical assistance Lucia Manghi, Paolo Romanini
Photographic documentation Elisa Morabito
Production Lenz Foundation ~ Natura Dèi Teatri
COMMONIES COMMONS – Emilia Romagna Culture