P.P.P.Pier Paolo Pasolini und der Tod

In the ret­ro­spec­tive ​“P.P.P. — Pier Pao­lo Pasoli­ni and Death” Pasoli­ni was pre­sent­ed as an exposed, con­tro­ver­sial per­son­al­i­ty, as a writ­ing, draw­ing, paint­ing and film­ing artist. The exhi­bi­tion was intend­ed to pro­vide insights into the mul­ti­tude of the dif­fer­ent roles that Pasoli­ni played and at the same time pro­vide a com­pre­hen­sive overview of the qual­i­ty and pecu­liar­i­ty of his artis­tic and polit­i­cal forms of expres­sion. In order to do jus­tice to Pasolin­i’s oeu­vre and life equal­ly and in their diver­si­ty, var­i­ous media chan­nels were used in the design of the exhi­bi­tion. The design for the exhi­bi­tion rooms divid­ed them into the three areas ​“Street”, ​“Cin­e­ma” and ​“Ate­lier”, which, in con­trast to the tra­di­tion­al pair of terms ​“life” and ​“work”, allowed a more com­plex pro­gram­ming with mul­ti­ple net­works and ref­er­ences. Pasolin­i’s ini­tials shaped the over­all appear­ance of the exhi­bi­tion and the asso­ci­at­ed cat­a­log book, also designed by chezweitz. ​“P.P.P.” was designed as a logo, which evokes the graph­ic designs of the Yel­low Press. It referred to the pub­lic per­son, who was extreme­ly present in the media in con­nec­tion with scan­dals and tri­als. The usu­al game with buzz­words and slo­gans was tak­en up in a par­o­dy­ing way in the exhi­bi­tion and cat­a­log. In the ​“Street” area, news­pa­per stands designed with these means marked impor­tant moments of his biog­ra­phy, showed point­ed por­traits of Pasoli­ni and brought an urban ele­ment into the exhi­bi­tion space. Wall dis­play cas­es showed mate­ri­als that demon­strat­ed the over­laps of life and work, such as Pasolin­i’s books or set pho­tographs. The vis­i­tor moved through the bio­graph­i­cal ​“street” to a self-por­trait of Pasoli­ni, which con­trast­ed the mon­stros­i­ty of the media stag­ing with his view of him­self. In the ​“Ate­lier”, the artist Pasoli­ni took cen­ter stage in his writ­ten doc­u­ments, draw­ings, paint­ings and quo­ta­tions. In order to illus­trate Pasolin­i’s inter­me­di­al cre­ative process, lit­er­ary and pic­to­r­i­al pro­duc­tions were shown in their togeth­er­ness, simul­tane­ity and their the­mat­ic sim­i­lar­i­ties. In the ​“cin­e­ma” area, the scenog­ra­phy was dynamized in space and time using artis­tic strate­gies: The vis­i­tor was sur­mount­ed by twelve large-for­mat pro­jec­tion screens as a float­ing pro­jec­tion space with an axi­al, sym­met­ri­cal struc­ture. The task of exhibit­ing film in a muse­um was met with a video instal­la­tion, which under­took an inves­ti­ga­tion of Pasolin­i’s visu­al lan­guage in the form of pro­ject­ed film quo­ta­tions and was designed as a spa­tial­ized film analy­sis. In a loop com­posed of film quo­ta­tions, the image qual­i­ty of Pasolin­i’s films was thus condensed.