Thinking of Cotognini’s works, it is difficult to figure out a more suitable place than an archeology museum. Certainly done on purpose, considering the ironic and cerebral relationship that Art has been always mainteined with time and its related contexts.
A simile, uncommon but not less evident, that develops between the permanent works, exhibited in the museum collection and Cotognini’s open actions. It takes on the whole responsibility of the unresolved question of the research of atemporality in a creatively effective way.
In a personal destination, the artist designs his own historical logics taking a non-finished present back: all in an effective dialogue with thounsand-year artifacts that still demonstrate perfect and untouched naturalness.
If the inter-disciplinary trespass between objects and language is the aim of the narration, for Cotognini the time becomes naturally, the place to immerge yourself, experience the almost unnoticeable depth of abgrund and go through uncounscius and memory which become a metaphor of the art, composition and intellectual audacity.
This is where the beauty of vulnerability becomes a always more steady rhythm in his work as well. Rhythm that doubles, bears and increases the several temporalities by which Cotognini always tries to reach a placid aestethic harmony.
From this perspective, the objects of Cotognini are not so much presented in shop windows or show cases to preserve the value: what he wants most is to create an intentional gap. It is certainly a different way to observe, inspect and evaluate all the strokes of the drawing and its natural conservation. An almost perfect seal which is tailored to the works shown.
The artist's works, on the one hand refer to the objects’ phenomenology and on the one other to the instrument field. Works, which indeed are not only something which should be observed, but also instruments to watch out.
Being exhibited is an essential condition for the works of the Marchegiano artist. In this sense, the more frequent elements in his works such as iconography and citation are both useful to build a related framework based on contraddictions and incongruities of a culture which often forgets the past or behaves as the cultural depth of time doesn’t exist. And it is precisely through the analysis that the artist explores this depth: he immerges himself with a series of techniques and propositions which go beyond the art to enter into science or history. Searching Borges-like maps which can open new perspective horizons.
In this exhibition, the artist introduces newly created and past works at the same time trying to mix his personal memory with the museum ancient tradition. Works which are historical or natural artifacts, but due to their own condition they have to be behind the show case protection, a place which highlightes the time gap between this objects and the present of the exhibition.
In this ungoing dialogue with the present, natural basis of an exhibition, the research vocation of Cotognini takes place. It orders, puts together and rearranges objects that have in common the unique dimension of time and space of the exhibition as a whole.
In this specific semantic field, the same diving helmet represents for the artist a metaphor of the depth of knowledge and its unlimited will to discover new forms and things. He ranges from the anamorphosis instrument useful to read distorted images to the dark room for capturing and translating present images.
Yet we can’t say that Cotognini avoids both actuality and the historic moment. Better to say that he compares it with an as wide as possibile dimension, often leading to a mixture of elements within the artist finds his puntual stylistic figure which becomes essential to discuss the media leading position of new technologies, the unbearable superficiality of the globalized reality or the present diaphgram always thiner because of our way to consume the world.
Anamorphosis is a central theme for Cotognini: his exhibitions become instruments in which many elements, deformed by time or their natural difference, can be put back together and read alternatively. It is in this way that the exhibition is an oustanding and truthful way to analyse his suggestively symbolic and valuable work.
It is also here the epiphany of the artist critical soul. It can help us to understand that the reality is always within a natural anamorphosis and is up to us to collect it and find out means and instruments to translate and build a speech which is also a visible speaking.
The difference between mhyth and reality is this deformation and reconstruction of a collective imagination starting from the anamophosis phenomenon. Generating mosters from reality is primarly a deformation of the visual language. From here, forms, ittioforms and fitoforms begin to desmember their calming normality, their naturality to violently enter the fantastic world and its multi-colored and mysterious plots.
The same as for the everyday objects that the time converts into treasures, also the artworks of Cotognini develops a preciousness created from distance. A distance which is the chance to build up new scenarios and visions for a tight connection between archaic and actual, real and mhytological, scientific and pataphysical.