06/01/2010 Fellini, La Grande Parade at Paris Jeu de Paume
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I am Fellini! I send a small advertissement to the newspapers which says more or less:"federico fellini is ready to meet all those people who wish to see him' every idiot in Rome turns up to see me, including the police. [...] I may see a thousand in order to pick two, but I assimilate them all. It's as if they were saying to me, "take a good look at us, each of us is a bit of the mosaic you are now building up
Sometime exhibitions are so good that their designs feel like art itself. It's exactly what I felt visiting the exhibition about Fellini (1920 - 1993) at Jeu de Paume, Federico Fellini, the artist behind the legendary La Dolce Vita or 8½. Movies, quotes, drawing, photographs and even slide films are used to present his inspirations but also his vision as movie writter and director.
It presents the history of his work through his experience of movies and his inspirations: The photo-novel, parades, the circus, the church, miracles, the youth tastes, etc.
This exhibition is displayed until the 17th January 2010 for 7 euros and is one of this exhibition that tackle a fascinating topic with a fantastic display.
The circus: immedially I saw it I felt ecstatic, totally committed to that noise and music, to those monstrous apparitions, to those threats of death. I saw the big top as a miracle factory where things were done that were impossible for most men. This kind of show, based on wonder and fantasy, on jokes and nonsense, and on the lack of any coldly intellectual meaning, is just the thing for me.
Dinners: everything here belongs to the belly, becomes belly. A spectacle to be devoured with the eyes, but also the menace of all those eyes, mouths, faces and overflowing bodies, eager to swallow.
Behind the camera: I am incapable of looking at things in a detached way, through the camera for example. I don't give a fig for objectivity. I need to be in the thick of things. I need to know everything about everyone, to make love with everything around me.
Count up to six, slowly and bitterly, then continues up to twenty nine, but with a hint of contempt as well. I put dialogue into the film after I made it.
