Federico Fellini
20 Oct 2009 - 17 Jan 2010
Anita Ekberg et Marcello Mastroianni, La Dolce Vita1960
Photographie de tournage, photographie Pierluigi
© Collection Fondation Jérôme Seydoux-Pathé
Photographie de tournage, photographie Pierluigi
© Collection Fondation Jérôme Seydoux-Pathé
FEDERICO FELLINI
20 October 2009 - 17 January 2010
To attempt to put on a Fellini exhibition means to go back to the sources of Fellini’s art and studying and revealing its processes of transformation, alteration, borrowing and accumulation. The result is a set of strata combining filmic elements, photographic documents, magazine presentations of the event, TV images and works by artists.
This exhibition is resolutely multidisciplinary. It sets out to offer a new grid for reading Fellini’s films.
The event and the historical fact, History and anecdote, biography and fiction are the materials that, by means of confrontations, echoes and dialogues, Fellini used to built his distinctive narratives and original visual environments.
Showing the creative context of Fellini’s work in an exhibition means showing the nature of his creative mechanisms.
While many now legendary scenes have come to be seen as perfect incarnations of Fellini’s prolific imagination, it now looks as if a more thorough analysis of the context will offer a fresh point of view on his work. Such a hypothesis sits well with Fellini’s own inclinations. Trained as a caricature artist in his youth, for a while he earned a living by doing portraits of GIs on leave, and all through his life he would show the same visual acuity, the same ability to gather so much more than images in his freeze-frames of reality.
The exhibition at the Jeu de Paume affords a glimpse of Fellini’s creative mechanisms by showing his unique ability for absorbing the real.
It comprises mainly photographs and drawings by Fellini, original film posters, period magazines and excerpts from his film.
Exhibition curated by: Sam Stourdzé
20 October 2009 - 17 January 2010
To attempt to put on a Fellini exhibition means to go back to the sources of Fellini’s art and studying and revealing its processes of transformation, alteration, borrowing and accumulation. The result is a set of strata combining filmic elements, photographic documents, magazine presentations of the event, TV images and works by artists.
This exhibition is resolutely multidisciplinary. It sets out to offer a new grid for reading Fellini’s films.
The event and the historical fact, History and anecdote, biography and fiction are the materials that, by means of confrontations, echoes and dialogues, Fellini used to built his distinctive narratives and original visual environments.
Showing the creative context of Fellini’s work in an exhibition means showing the nature of his creative mechanisms.
While many now legendary scenes have come to be seen as perfect incarnations of Fellini’s prolific imagination, it now looks as if a more thorough analysis of the context will offer a fresh point of view on his work. Such a hypothesis sits well with Fellini’s own inclinations. Trained as a caricature artist in his youth, for a while he earned a living by doing portraits of GIs on leave, and all through his life he would show the same visual acuity, the same ability to gather so much more than images in his freeze-frames of reality.
The exhibition at the Jeu de Paume affords a glimpse of Fellini’s creative mechanisms by showing his unique ability for absorbing the real.
It comprises mainly photographs and drawings by Fellini, original film posters, period magazines and excerpts from his film.
Exhibition curated by: Sam Stourdzé