Senza titolo 2

Within the Butchers series, Senza titolo 2 stages violence as an ordinary procedure, made acceptable by the visual continuity between the handling of flesh and domestic ornament. Zampogna does not insist on the culminating instant of killing, but on what follows, when the body has already become material to be processed and the gesture has turned into a task. In this passage, the series identifies a broader mechanism of media reality: drama is not denied, but returned to a repeatable, observable and ultimately consumable form.

The damask pattern passes through bodies, setting and tools, weakening the distinction between figures and ground and converting the action into a decorative scene. The two workers lose individual substance as the fabric resurfaces within their clothes and volumes, as though the workplace were absorbing them into the same ornamental regime as the flesh. Even the skeletal and cranial presences, suspended like remnants or signs, do not assemble a funerary narrative: they introduce death into the field of visual habit. This dispersal is resisted by the pink matter on the table, whose chromatic intensity interrupts the muted dominant and restores concrete weight to the flesh precisely as everything else tends to neutralise it.

The work thus places the defusing of drama at the centre of its perceptual structure. There is harmony not because violence has been resolved, but because figures, remains and decoration are subjected to the same visual equivalence. Compared with the earlier contaminations between “real reality” and “media reality,” the montage here no longer depends on recognisable windows or inserts: the fabric itself operates as a device of assimilation. What remains for the viewer is a scene that is still legible but stripped of immediate moral hierarchies, in which the true trauma coincides with the ease with which death can become an environment.