(ANSA) - ROME, OCTOBER 28 - Your own face studied, deconstructed and then reconstructed, the landscapes with an intimate flavor, and then the portraits-homage to friends of all time, family members and 'masters', to tell on paper and canvas, from the years of youth to those of maturity, his world to become.
The expression of Pasolini's complex poetics also passes from the experimentation of sign and color, as revealed by the exhibition "Pasolini Painter", at the Galleria d'ArteModerna in Rome from 29 October.
The result of an in-depth scientific study, the exhibition (curated by Silvana Cirillo, ClaudioCrescentini and Federica Pirani, set up until April 16, 2023) brings together over 150 works, coming from the Gabinetto Vieusseux in Florence, the Cineteca di Bologna, the Centro Studi Pasolini in Casarsa, '
The itinerary investigates Pasolini's art from the very beginning, when the first pictorial tests were accompanied by his poetic beginnings in Friulian.
Even in painting, as in every manifestation of his poetics, Pasolini paid attention to some recurring themes: the physicality of the body, nature, the popular world and that of affections, alongside the restless gaze on himself.
All this mainly translates into portraits (from Laura Betti to Ninetto Davoli, from Maria Callas to Andrea Zanzotto and Giuseppe Zigaina, and then the mother Susanna, cousin Nico Naldini, Ezra Pound and Roberto Longhi) and self-portraits (starting from the famous "Self-portrait with flower in the mouth "of 1947, around which the path ideally develops);
but not only, because alongside the human variety, with female figures, friends, children,
his own refined face was obsessively represented, also inhabiting his production in places of his heart, such as Casarsa della Delizia (the country of his mother Susanna), in a technical experimentation between tempera and ink, greasy pencils and pastels, tracing papers and cellophane.
(HANDLE).