P.P.P.

Pasolin­i’s ini­tials define the over­all look of the exhi­bi­tion and its accom­pa­ny­ing cat­a­logue, also designed by chezweitz. ​“P.P.P.” was designed as a logo, evok­ing the graph­ic designs of the tabloid press. It alludes to the pub­lic fig­ure who was high­ly vis­i­ble in the media due to scan­dals and tri­als. The com­mon use of buzz­words and slo­gans in the tabloids is par­o­died in both the exhi­bi­tion and the cat­a­logue. In the ​“Street” sec­tion, news­pa­per dis­plays designed using these same tech­niques mark key moments in his biog­ra­phy, present strik­ing por­traits of Pasoli­ni, and intro­duce an urban ele­ment into the exhi­bi­tion space. Wall-mount­ed dis­play cas­es show­case mate­ri­als that demon­strate the inter­sec­tions between his life and work, such as Pasolin­i’s books and set photographs.

The vis­i­tor moves through the bio­graph­i­cal ​“street” towards a self-por­trait by Pasoli­ni, which con­trasts the mon­strous nature of media stag­ing with his view of him­self. In the ​“stu­dio,” the artist Pasoli­ni takes cen­ter stage through his writ­ten doc­u­ments, draw­ings, paint­ings, and quo­ta­tions. To illus­trate Pasolin­i’s inter­me­di­al cre­ative process, lit­er­ary and artis­tic pro­duc­tions are pre­sent­ed in their inter­con­nect­ed­ness, simul­tane­ity, and the­mat­ic parallels.

In the ​“Cin­e­ma” sec­tion, the scenog­ra­phy was dynam­i­cal­ly inter­wo­ven with artis­tic strate­gies: twelve large-for­mat pro­jec­tion sur­faces sur­round­ed the vis­i­tor, cre­at­ing a float­ing pro­jec­tion space with an axi­al, sym­met­ri­cal struc­ture. The chal­lenge of exhibit­ing film in a muse­um was addressed with a video instal­la­tion that explored Pasolin­i’s visu­al lan­guage through pro­ject­ed film quo­ta­tions, con­ceived as a spa­tial­ized film analy­sis. The visu­al qual­i­ty of Pasolin­i’s films was thus con­densed into a loop com­posed of these film quotations.