Pier Paolo Pasolini told at the Graphic Museum of Pisa
“Did you know, sinning does not mean doing evil: not doing good, this means sinning” says Pier Paolo Pasolini, and it would have been a real shame not to give life to the exhibition Something is always missing …in homage to one of the greatest intellectuals of all time in the year in which the hundred since his birth occurs, at the Graphics Museum a Lanfranchi Palace of Pisa, open until next June 6.
There is everything Pasolini in the words of the Councilor for productive activities, trade and tourism Paolo Pesciatinialso curator of the exhibition together with Davide Rondoni And Massimo Trocchi and with the patronage of Pier Paolo Pasolini Study Center by Casarsa della Delizia: «To be scandalized is a right, to be scandalized a pleasure. Anyone who refuses the pleasure of being scandalized is a moralist, just as Pasolini himself claimed, to whom Pisa, the city that hosted the Corinth of his Medea in 1969, could only pay a heartfelt homage “.
The exhibition is an ideal divided into four sections, which well represent the typical eclecticism that characterized all Pasolini’s poetics – Pasolini was in fact a poet, travel writer, playwright and director – The first includes the video chapter Me, Pier Paolo Pasoliniedited by Testori house and of Giuseppe Frangi, a selection of fragments that tell PPP through his own narration: he asserts about his vision of the world, through a sociological attitude, while wandering through those marginal and marginalized places he loves so much; alongside the story there is an outline of historical posters of his films.
The next two chapters are nothing more than two photographic sections, Matera, my Jerusalem And To PierPaolorespectively twenty-five shots of Domenico Notarangelo on the set de The Gospel according to Matthew (1964) and thirteen intimate and personal shots by Elio Ciol to Pasolini: this is also an extremely short story and not didactic, in fact some moments of pause from the shooting of the famous film are captured, unpublished moments, exactly like those in which the visual sensitivity of the intellectual at 360 degrees, fragility that is betrayed through that deep and mysterious gaze of his.
The last section, A desperate lacka real exhibition within the exhibition, sees the works of Stefano Tonelli, a series of mixed techniques on paper, material and sparse to the contemporary, narrating the deceased body of Pasolini, his ideal transformation and his heavy absence in today’s time. The works are flanked by a powerful installation by the artist who in a faithful and evocative way tells us about Pasolini’s lifeless body, a stumbling body, behind which the vital and desperate cry of the immense Anna Magnani in Mom Rome (1962). The exhibition received the visit and the applause of Graziella Chiarcossicousin of Pier Paolo Pasolini and actress in some of his films, as well as guardian of the intellectual heritage of his works.