Pier Paolo Pasolini and Maria Callas. Chronicle of a love is the title of the exhibition which will remain open until February 25th Casa Colussi of Casarsa della Delizia (Pordenone). Through precious original photos (largely coming from the archive of Nadia Stancioff, secretary and assistant of Maria Callas during the making of the film Medeaand soon friend), dozens of magazines (weeklies, rotogravures) of the time, original autographs and manuscripts – a meticulous documentation exhibited for the first time without noticeboards, with the consequent fascination that physical contact with the objects also creates – the The exhibition reconstructs act by act the “love story” between Pier Paolo Pasolini and Maria Callas and all the gossip that arose from it: the rumours, the rumors about the relationship and the “marriage” between the two, as they appeared in the newspapers and in the paparazzi’s photographs, the true and false rumours, the engagement party in Grado, everything that can be said relating to a possible “conversion” of Pasolini hoped for by relatives and friends, without exception, who hope and support it, in a real conspiracy of the world for “his good”.
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Organized by Pier Paolo Pasolini Study Center, and accompanied by a catalog (Ronzani Editore), the exhibition is curated by Silvia De Laudeessayist and curator, among the various works, together with Walter Sitiof Pasolini’s complete works in Mondadori meridians (1998-2001) yes Giuseppe Garreraart historian and collector, who recently curated the exhibition Pier Paolo Pasolini. Everything is holy. The poetic bodyset up in the Palazzo delle Esposizioni in Rome.
“An exhibition itinerary – underlines the president of the Pasolini Study Center Flavia Leonarduzzi – which constitutes a further important piece in the context of the multi-year planning of our initiatives. In this way the direction of studies and research is strengthened which also offers the public new or little-known aspects of Pasolini’s life and production”.
About seventy photos, newspapers and magazines take us back in time, to the years 1969 and 1970, to tell the story through images a story that appears new to the public today, unexpected, thanks to very difficult to find material, made available for the first time, the result of a pharaonic work carried out over more than 15 years by the collector – and co-curator of the exhibition – Giuseppe Garrera.
A meticulous research that constitutes a sequence of images, news and unpublished statements and restores the public surprise of the facts, the amazement of contemporaries at what was happening: Pasolini and Callas in love and happy, with all the aftermath of spite, spite, envy , irritation, malevolence, perplexity that this aroused. And intolerance for their beauty, difficulty in managing the displacement of the success and glamor of history.
A story which, as De Laude and Garrera explain when presenting the exhibition, “was also a comedy of errors, full of comic parts and with Mozart’s painful and sublime music. At the center is the desperation and the dark motive of love, stronger than any love, of the two, but which within itself and all around inevitably produces farcical scenes and, as happens when the protagonists are unhappy, clumsy solutions and disasters at every step. We have the anger of Laura Betti, the jealousy of Ninetto Davolithe hopes placed and collected of Susannathe mother, who dreams of being Maria’s mother-in-law, the voices of the servants, the friends and acquaintances, everyone, for a moment, including the newspapers and magazines from all over the world, struggling with the problems of an immense love with the ridiculous dream of marriage which overwhelms and stuns, first of all, the protagonists themselves: a ring given by Pier Paolo to Maria, Pasolini’s reticent declarations to journalists, the air of celebration and joy – primarily the uncontainable happiness of Pasolini’s mother -, the entire family context which, for better or worse, witnesses and applauds, in conspiracy, the conversion to the joys of heterosexuality and conformism, for the happy ending”.
The exhibition retraces that entire period, mercilessly, having only the scruple of reporting the sounds and voices of the scene and capturing the blunders that crossed it. “There are loves and bonds – continue the curators – which do not fit into any formula and which precisely because of this suffering aspire to convention or resort hastily and clumsily to the grammar of the world’s conventions”. Once again Pasolini did not appear to be pigeonholed, he acted outside of conventions and patterns, confirming his attitude not to let himself be defined and to think of love as an action of freedom and scandal.
In the rooms of the Casarsa Study Center the chronicle of an exceptional love story with exceptional protagonists (Pasolini and the diva of divas Maria Callas) unfolds, but in reality, above all, a social picture of the conventions and prejudices of that time is traced and of our time, offering the possibility of meeting two of the most painful souls we have ever known.
“There is no doubt – again De Laude and Garrera – that Pasolini was enchanted by Maria Callas, and Maria Callas was enchanted by Pasolini, both in an abysmal way. The entire process of “Medea” and the presence of Callas (her face, her movements, her gestures, her expressions, her aura) appear, from shots and testimonies, to have been an enchantment ceremony, for Pasolini until he was stunned. But, as we will see, a love story is always and first and foremost a story of the need for love, awareness of one’s loneliness on this earth, and of the impossibility of overcoming, if not as a momentary illusion, the shadow line of one’s destiny.” In every affection, Pasolini recalls, “the meaning that our entire life has for us returns”.
The exhibition can be visited until 25 February 2024, from Tuesday to Friday from 3pm to 7pm; on Saturdays and public holidays from 10.30am to 12.30pm and from 3pm to 7pm.
Free admission.
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– 2024-05-11 10:40:42
