In the mid-1970s, the young Carmelo Bene spoke in an interview about Buster Keaton and said: “If one imagines the earth as a sphere whose surface is utterly covered with soap, obviously one cannot prevent from slipping”.
The image Carmelo Bene gives of Buster Keaton can also function as a prologue for the work of Lorenzo Scotto di Luzio who, on this slippery surface, is deliberatly slipping up himself. With subtle humor, he uses slapstick to break through the authoritarian and the disillusioning act of the ritual.
The recurring aspect of his work is the simulation of something that is so credible that the perception of reality itself is called into question. His staging of fiction correspond with the parody of a drama, not only in content but also in the methodology, with hyper-realistic results. With this deconstructive attitude towards a standardized semiology, di Luzio repeatedly eludes from any categorization and confronts the meaning of experience in a society that Guy Debord defined as spectacle.
The Madonna, the ritualized image of a tautological religious language par excellence, works in this case as a representation of something that cannot exist or can never really be experienced, merely accepted in a state without opinion. For this exhibition, di Luzio created a stage for the Madonna, a mise-en-scene, in which the object plays the role of an appearance of an image. On this stage, she moved from the back office of the gallery towards Potsdamer Straße, moving as foreign body bearing misunderstandings of epistemological depth.