Senza titolo 3

Within the Butchers series, Senza titolo 3 stages the defusing of violence as a passage from the concrete body to the consumable sign. Slaughter is not presented as an exceptional event, but as a shared procedure in which human gestures are organised around the carcass without producing a true narrative climax. Zampogna thus returns to the contamination between “real reality” and “media reality” that runs through his research: what should impose the irreducible weight of death is absorbed into a pale, almost rarefied representation, capable of making even the most traumatic act appear ordinary.

The enlarged, almost graphic green outline turns the animal into an emblem that invades the scene without restoring its substance. Its scale separates the image from the carcass laid across the table and produces a doubling: the body subjected to work is matched by a silhouette already prepared to circulate as a sign. Below, pink and red matter spreads beyond anatomical limits, shifting blood into the register of a chromatic surface. The three workers, rendered with unequal intensity, also seem to lose their identities within the function they perform. Only the red shirt briefly concentrates attention, but its chromatic force competes with the matter on the ground and confuses clothing, flesh and residue.

The fabric receives these levels without reconciling them, allowing painting, drawing and empty space to retain their perceptual discontinuity. Compared with the damask decoration in other works from the series, here the drama is weakened chiefly through the bleaching and incompleteness of the image: the scene appears both present and already consumed. The work therefore adds to Butchers a form of erasure that does not conceal violence, but makes it visible as an image depleted of intensity. The viewer is left unable to distinguish clearly between testimony, procedure and spectacle, since the trauma survives precisely in the ease with which it can be watched.