Il Restauro dell’Ipogeo Txakurreo
Solo exhibition, 2022
TAM Museum, Matera (Italy)
Solo exhibition, 2022
TAM Museum, Matera (Italy)
For centuries, the frescoes of the Tkakurra Hypogeum lay concealed beneath layers of plaster. This remarkable cycle of works, dated to 1248-1250 AD, was rediscovered in 2018, during the restoration of the Torre del Capone spaces in Matera. The delicate restoration process was entrusted to CANEMORTO, a trio of artists and historians who resurrected the frescoes, transforming them into an innovative masterpiece of artistic restoration. The crypt itself, an irregularly shaped hall, was originally connected to the base of the tower, which was entirely frescoed. By the early fourteenth century, the paintings had been completely covered and part of the niche irreparably destroyed as the tower filled with debris. The presence of a flue indicates that the crypt was repurposed as a rudimentary kitchen over the centuries that followed, further compromising the space with the addition of doors and windows.
The cycle of works displays a stylistic code distinct from the contemporary Lucan fresco tradition. Careful analysis suggests that the murals were executed simultaneously by three artists of unknown provenance. The votive niche on the southern wall serves as the focal point of the hypogeum, portraying a dog-like deity known as Txakurra. This niche, intended to house candles, offerings and divinatory objects, underscores the artists’ devotion to the cult of this zoomorphic spirit. According to leading sources, the Txakurrean religion traces its roots to the figure of “Kozo”, a mysterious dog-like fetish associated with the connection between the living and the dead in many central African belief systems. It is believed that the Greek mythological Cerberus derives from this figure.
It is suspected that, upon completion, the fresco cycle was met with disapproval by its patrons. The inclusion of the votive niche, a rich bestiary, and a derogatory depiction of San Giovanni da Matera likely led to accusations of paganism against the three artists, who were forced to flee to avoid being condemned to the stake. The work was then covered with plaster and hidden from view in around 1250 AD.
Two massive tuff statues, also dating to 1248-1250 AD, were discovered alongside the frescoes. The first statue was unearthed during the clearing of the tower’s overgrown internal garden, while the second was recovered from an ancient medieval well in the entrance courtyard adjacent to the hypogeum. Evidence indicates that the two sculptures were hastily buried in the early 14th century at the same time the frescoes were concealed.
Now returned to their original positions, the statues reflect their intended role as imposing sculptural portraits of the tower's lord and lady, dressed as warriors. Such statues were traditionally displayed in reception areas to symbolise authority and inspire fear in visitors. However, these particular works, attributed to the same trio of artists responsible for the frescoes, diverge significantly from the naturalism of Lucan statuary. Instead, they exhibit primitive traits and exaggerated deformations, such as disproportionately large hands, drawing closer parallels to African sculptural traditions. This stylistic departure likely contributed to their rejection by the patrons, who chose to bury them rather than remove them from the site due to their substantial weight. The innovative restoration effort, overseen by CANEMORTO, has not only uncovered these remarkable statues but also restored them to their former grandeur, offering a new appreciation of their historical and artistic significance.
WATCH THE FULL VIDEO
Video filmed and edited by Matteo Berardone
Written and performed by CANEMORTO
Voice over by Cosimo Frascella
Photographs by Jietsen Velasco
The cycle of works displays a stylistic code distinct from the contemporary Lucan fresco tradition. Careful analysis suggests that the murals were executed simultaneously by three artists of unknown provenance. The votive niche on the southern wall serves as the focal point of the hypogeum, portraying a dog-like deity known as Txakurra. This niche, intended to house candles, offerings and divinatory objects, underscores the artists’ devotion to the cult of this zoomorphic spirit. According to leading sources, the Txakurrean religion traces its roots to the figure of “Kozo”, a mysterious dog-like fetish associated with the connection between the living and the dead in many central African belief systems. It is believed that the Greek mythological Cerberus derives from this figure.
It is suspected that, upon completion, the fresco cycle was met with disapproval by its patrons. The inclusion of the votive niche, a rich bestiary, and a derogatory depiction of San Giovanni da Matera likely led to accusations of paganism against the three artists, who were forced to flee to avoid being condemned to the stake. The work was then covered with plaster and hidden from view in around 1250 AD.
Two massive tuff statues, also dating to 1248-1250 AD, were discovered alongside the frescoes. The first statue was unearthed during the clearing of the tower’s overgrown internal garden, while the second was recovered from an ancient medieval well in the entrance courtyard adjacent to the hypogeum. Evidence indicates that the two sculptures were hastily buried in the early 14th century at the same time the frescoes were concealed.
Now returned to their original positions, the statues reflect their intended role as imposing sculptural portraits of the tower's lord and lady, dressed as warriors. Such statues were traditionally displayed in reception areas to symbolise authority and inspire fear in visitors. However, these particular works, attributed to the same trio of artists responsible for the frescoes, diverge significantly from the naturalism of Lucan statuary. Instead, they exhibit primitive traits and exaggerated deformations, such as disproportionately large hands, drawing closer parallels to African sculptural traditions. This stylistic departure likely contributed to their rejection by the patrons, who chose to bury them rather than remove them from the site due to their substantial weight. The innovative restoration effort, overseen by CANEMORTO, has not only uncovered these remarkable statues but also restored them to their former grandeur, offering a new appreciation of their historical and artistic significance.
WATCH THE FULL VIDEO
Video filmed and edited by Matteo Berardone
Written and performed by CANEMORTO
Voice over by Cosimo Frascella
Photographs by Jietsen Velasco
Projects