ON THE CONCEPT OF THE FACE, REGARDING THE SON OF GOD

This is the beginning. I want to meet Jesus in His very long absence. Jesus' face isn't there. I can see paintings and statues. I know more than a thousand painters from the past who spent half their lives trying to reproduce the ineffable, almost invisible grimace of sorrow which appeared on his lips. And what about now? Now, he is not there. What is really making its way in me is the will. It's about putting together the will and Jesus' face: I want to be in front of Jesus' face, just there, where what mainly strikes me is the first part of the sentence: I will.

- ROMEO CASTELLUCCI.

Romeo Castellucci (Cesena, Italy, 1960) founded the Socìetas Raffaello Sanzio in 1981 with his sister Claudia Castellucci and his wife Chiara Guidi. Since then he has coined his own theatrical language which focuses on the integration of different artistic disciplines, new technologies and the visual power of a universe of images which floods the senses and the subconscious.

Controversial, iconoclastic, energetic and experimental, Castellucci surprised the world with his Tragedy Endogonidia and took it by storm with his re-examination of Dante Alighieri's Divine Comedy: Inferno, Purgatorio, Paradiso, chosen by French newspaper Le Monde as the best work of the first decade of the century. A pioneer in the creation of disturbing and hallucinatory sensory worlds, Castellucci has been compared to Robert Wilson, David Lynch and Michael Haneke.

Now his latest project, On the Concept of the Face, regarding the Son of God, premieres in Spain. It is a powerful piece in which the face of a Renaissance Jesus serves as a starting point for a raw, extreme and moving reflection.