Pasolini exhibition at the Martin-Gropius-Bau: Paradise at the edges of Rome – Tagesspiegel

11:05 clock Gregor Dotzauer

artists, fighters, Heretic: The Berlin’s Martin-Gropius-Bau looks with the exhibition “Pasolini Roma” Pier Paolo Pasolini on Roman years.

One more time you would have to return to the point at which, for him, the old Italy went down and the new epoch showed her grimace. Pier Paolo Pasolini’s pain, his grief, his anger and mobilized against it as lust for life derived therefrom would be a very different impact unfold as they do it in an ultra-turbo-hyper-capitalist homogenized world. But even a time machine would probably make only first aid. For the “anthropological revolution” that disturbed him so, has neither maintain a trust nor a searchable historic date for each location.

Your terror is fed by a moral attitude that one only in connection with an artistic vision developed all-consuming power.

This does not mean that you would meet beyond the poetic, cinematic and journalistic works that bear witness of their gluttony, not reality. But even where they could discover their contemporary equivalent, in China, where Bulldozer overnight with whole neighborhoods at the same time under plow lifestyles, to make room for living and office equipment, is the force of destruction against an inevitable modernization, the only all human lost measure.

Pasolini’s great biographical rupture

The big break comes for biographical Pasolini already a good ten years earlier than the historically diagnosed by him. On 28 January 1950, the 27-year-old arrives with his idolatrous beloved mother Susanna, a teacher from Friuli on the main Rome station, in a pre-industrial-looking city. The school in Casarsa, where he was employed as a teacher, has fired him after he disappeared during a village festival in neighboring Ramuscello onto the field to have fun with some boys, the Communist Party has morally him because of his homosexuality as “not worthy “excluded.

In Rome, he moved to an interlude with an uncle in Piazza Costaguti together with the mother and the nachgekommenen father, a career officer, initially for three years after Ponte Mammolo, a suburban slum of which it is only a stone’s throw to the prison of Rebibbia. He has his life completely reorganize and find a badly paid job as a teacher in Ciampino. With public transport the journey will cost him there three hours

The Awakening for writers

It starts the second part of his life. Awakening to the writer, who in the place of lyrical gems Friulian uses language with “Ragazzi di vita” a wild narrative full of Romanesco-sprinklings, the vernacular, teach him the brothers Franco and Sergio Citti. The dialogue writer for Mauro Bolognini and Federico Fellini follows the urge, without much technical knowledge to become a film director himself, and turns with “Accattone” 1962, a key work of neorealism in order to break away from its aesthetics soon. And wrestling with his sexuality Gay exchanges his early secrets against a confident liberated life with lovers and prostitutes.

This second section, during which he acquired in 1975 worldwide fame until his assassination in Ostia, certainly is not conceivable without the first. The forced resignation of Casarsa shaped his thinking as a basic unspoken experience. The land in the recurring regularity of the seasons is against the obsession with progress of the city, the cultural tradition against the historical destruction, the dignity of the Peasant and sub-proletarian against the conceit of themselves to the universal class flyout bourgeoisie – and all this is not in the Transfiguration of village structures, but as an energy source a harsh counter-spell that discovered at the edges of Rome, in the Borgate, a resistant paradise.

Exhibition “Pasolini Roma” finally in Berlin

Curated by Jordi Balló and Alain Bergala exhibition “Pasolini Roma”, which is now coming to stations in Barcelona and Paris to Berlin, that is exactly where the hinge of this life is. In the first room you see what Pasolini left behind. The past moves in the form of family photos on a projected screen on again by train window; also recordings of his 1945 Partisan who died brother Guido are below. The six chronological stages of the exhibition will be accompanied by film clips in a loop, targeting a look at the presence of the places which Pasolini in films and poetic invocations a “divine Rome” conquered.

If you considering old maps and a variety of film and interview clips now sees that one sees nothing more, this is probably a confirmation of the facelessness of the world, which he saw looming in the form of an unrestricted consumer society. More than that it is an incentive to acquire a glance, its topographical terrain can indeed accurately identify the transformed Pasolini but especially by his eloquence in something magical. So vivid multimedia, this exhibition is advised that parts of his poem “Gramsci’s Ashes” projected onto a kind of black grave stele or the Fiat 1100 demonstrates, with whom he traveled to the scenes of “Comizi d’amore,” his interview film about the sexual habits of the Italians , on the Michel Foucault wrote a hymn, it remains but an unusually text-intensive experience.

Summon a space

No patient reading it, you understand nothing of lasting fame of this man, who soon dead longer will be, as he has lived. The distance to him also growing because it wants to succeed no one to inherit his role. It prevails in radical thinkers of Jacques Rancière and Alain Badiou, Slavoj Zizek and up to Giorgio Agamben, in Pasolini’s film “The first Gospel – Matthew” as 22-year-old starred, not a defect. It lacks only to characters who are devoted to the political post-converted human condition with sufficient strength imagination – and where they can ski in the tendons and bones, that it is more than just theory. The rebirth of Pier Paolo Pasolini, in this sense, the invocation of a void.

The last German-language renaissance, with a number of publications and also in Berlin to seeing the exhibition of the Zurich Museum Strauhof who dedicated the Allen Ginsberg long poem “Who is me” illustrated, is only five years old. “Pasolini Roma” in contrast, creates no fundamentally different Pasolini, but one that is so deeply sunk into the circumstances of his time, that one can hardly imagine how he made his double front against the “clerical fascism” (with secret sympathy for Catholicism ) and the Marxist orthodoxy had won a position in the fickle opinion poll democracies of today (despite the utopia of a classless society). Certainly can say is: He would run amok

Fly shit to earthquake

Franco Fortini once observed that there’s probably no other Italian writer of the 20th century give, the more. judgments have like over time. He was an ideologue, which in Pasolini’s case, that was a multifaceted heresy and heretics, initially only means that he had more reasons for his polemics, which lay in his person, as in a divisible by all reason.

but

The unbroken interest in Pasolini may also reflect the desire for a world in which one could behave more startling. “Pasolini Roma” struck at all audiovisual sophistication with the materiality of many exhibits. In a gasoline ton is the “Lettera 22″ of Olivetti, where he remained his novel fragment “Petrolio” wrote. Another room is dominated by a huge cutting table, as he stood in the courtroom, was indicted in the Pasolini because of his allegedly blasphemous film “La Ricotta”. The highlight, however, is an article from the “Corriere della sera” from 1 February 1975 is on the neunspaltig wrapped front page right of the column “Tribuna aperta” the start of his essay “The power vacuum in Italy” about the collapse of traditional forms of rule. Under the title “From the fireflies” he was included in the ‘free fonts’. Visually, a flying funk – of the effect of bringing an earthquake

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