ROME - The black and white that finds the strength that only a writer can give it, the details that '' sometimes involuntarily hide a face '', and the backward discovery of places, characters, history in a sort of intertwining virtuous between reality and fiction.
It is a Pier Paolo Pasolini discovered with the step of the shrimp that told by Ruediger Glatz at the Palazzo delle Esposizioni (until 4 September 2022) in the first Italian solo exhibition of the German photographer, curated with character and originality by Alessio de'Navasques.
Born in Heidelberg in Germany in 1975, Ruediger Glatz approached photography as a form of artistic expression in 2000, having been active in the past as a graffiti writer.
Starting from the most classic form of documentation,
he elaborated his personal idea of photography as a conceptual portrait, shooting almost exclusively in black and white, using prolonged and multiple exposures to emphasize vision through the flow of time.
At the Palazzo delle Esposizioni he brings over 60 photographs dedicated to the artist in the centenary of his birth.
In the '' meta '' show everything starts from a mediated fascination, when Ruediger Glatz, who is pursuing a project related to fashion, documents the performance Embodying Pasolini, presented as a world premiere in the spaces of the Mattatoio in Rome in June 2021, in which the performer and actress Tilda Swinton, Golden Lion for Lifetime Achievement in 2020, together with Olivier Saillard, curator and fashion historian, investigated the sculptural monumentality of Danilo Donati's costumes,
the memory of the Pasolini characters who wore them.
'' I started from there - explains the photographer to ANSA - without knowing Pasolini.
From the physicality of the costumes of his films so material that they naturally suggest the expressive power of black and white.
But in the photos, as in the show, an absence was investigated ''.
In these photos of greats, Swinton, diaphanous and strong at the same time, led by Saillard, sought the very essence of Pasolini's cinematography in the holes in the fabric, in the void of folds.
'' From there I got the inspiration for what is the second part of the exhibition, that is the real desire to pursue the meaning of Pasolini's work through its places.
I discovered that they have not changed much and that in them there is all the tragedy of the artist's life.
I followed them as a meaningful path. ''
Hence the title of the exhibition Reflecting Pasolini and the idea of the project, which is completed with the images of the places, those that Glatz met while crossing Italy in search of Pier Paolo Pasolini's imagination.
Almost as if to fill that sense of emptiness, Glatz - explains Alessio de'Navasques - has invested the references to the painting of Piero Della Francesca and Giotto in Il Vangelo Secondo Matteo, as well as the lights of the architecture of Quadraro and Centocelle with new representations and re-semantizations. in films like Mamma Roma or Accattone or the shadows of Villa Feltrinelli, Mussolini's last residence on the shores of Lake Como, which inspired Salò.
The essence of places, of solitary landscapes, of nature-culture, as denaturalized spaces, has generated a personal atlas of myths and emotions, in an intimate and literary dimension of places such as the Bolognese birthplace, where the poet was born, or the Torre di Chia, the beloved refuge where Petrolio wrote.
The exhibition is promoted by Roma Culture and organized by the Palaexpo Special Company and is part of the PPP100-Roma Racconta Pasolini program promoted by Roma Capitale Department of Culture with the coordination of the Cultural Activities Department.
(HANDLE).
