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The Idol

The nature of such object is transcendent or immanent indifferently, what matters is the relationship of total subjection and of capitulation which men bestow to the work of other men, raising it to divine dignity. The totem which stands out at the centre of the mise-en-scene created by Lunardi is, indeed, an idol which arises from a completely secularized context but which, due to its immaterial nature, is lifted up to the nature of transcendent divinity which looms over its worshipers. The idol has no inner being whatsoever, it is only the cruel reflection of the image that the worshipers project in it, deprived of any spiritual value, made cynical and indifferent by its mechanical nature. This is the powerful and tragic vision of the current times Lunardi proposes, his vision of the society of the image which, sooner or later, as in a tragic and grotesque Uroboro, will consume itself.

Lunardi Marcantonio