A.D. 2000: Crucifixion

Bonapace’s contemporary 'Crucifixion' is mainly a sociological thinking inspired by real facts that happened to the author. It triggered a deep and intense thinking about the relationship between Faith, Society and Technology. The Artwork aims to represent two very far worlds facing each other in front of a dying Jesus. On one side we find Religion, based on antique, deep and intense human values. On the other side we find a contemporary consumerist society, connected and addicted to social media, electronic devices and technology: People are depicted half human and half android, careless and inattentive in front of a tragic and historical fact like this. Focused on having selfies, they’re looking for entertainment, waiting for something to happen in order to fill their own void: This is a sign of indifference and superficiality with no attention to what's happening in front of their eyes. An electronic cable breaks out from their arms and connects to the armchairs, with the intent to create a correlation between social media and their negative ‘drug addiction’ side.

Religion is trying to embrace people, a theme represented by numerous cables connecting with armchairs first and androids secondly, analogy with the ‘death sentence’ in a more contemporary cinematic iconography. The clumsy attempt to reach the believers creates more distance: The communication begins to falter, no matter how many connections and cables are settled up to achieve the goal. A feeble Christ is slowly switching on and off, almost to remind of the church's frail candles.

With attention, we can spot two people in the crowd looking at him desperately: There’s someone connected. Someone who cares, expressing a hope and the positives of technology and the community side.

On a second layer, it’s not missing here all the historical and religious details found in the Gospel: Cables breaking out from Christ himself, referencing his original wounds and the blood mixed to water breaking out from his body. Mary, mother of Jesus, Mary Magdalene, Saint John and Longinus, the unnamed Roman soldier – as main historical subjects attending the tragedy - are depicted as CryptoPunks artworks, mixed with classical statues portraying angels, which are the God’s presence on Earth.
The strong and visual contraposition are intentionally added to enhance the attempted embrace between the two realities represented. On the Cross’s extremities they’re barely visible the four Evangelists: Matthew, Mark, Luke and John. The inscription I.N.R.I. has some contemporary touch of visual language. In the foreground – at Jesus’ feet - we find a technological dump to enhance the dystopian mood and the extreme use and abuse of technology.

The soundtrack is composed to reflect the visual language and his contrast into a deeper layer of emotion, mixing robotic, digital and analogue sounds to a more classical choral composition heritage.

||The collector will receive the 5K Original Video and a physical counterpart of the Artwork.||