August 20, 2015
The exhibition will show how Antonioni renewed the grammar of film by thinking in terms of the image and less in terms of narrative. He was one of the first film authors who tried to capture the state of mind of characters searching for meaning by framing them in a particular way. The exhibition contains film fragments, photos by press photographers from Magnum, set photos, letters from Marcello Mastroianni, Jeanne Moreau and Umberto Eco, and paintings by Antonioni. Antonioni’s films will be screened in the auditoriums and accompanied by special programmes.
With his famous trilogy L’avventura (1960), La notte (1961) and L’eclisse (1962) – all featuring his muse Monica Vitti – Antonioni became one of the leading directors of the last century. A stylistic perfectionist, he renewed the grammar of film. He conveyed estrangement and faltering communication between lovers with sophisticated mise-en-scène and wonderfully framed, desolate shots of industrial and desert landscapes. Narrative, dialogue and action were of lesser importance to him.
Michelangelo Antonioni (1912-2007) started his career during the Second World War when he co-wrote scenarios for Roberto Rossellini and worked as an assistant director for Marcel Carné. In 1951 he made his directing debut with the film noir Cronaca di un amore. He later shifted from realistic representation to a more philosophical style. Antonioni probed the human soul and did it in a totally innovative manner.
The exibition will be open daily from 12 September 2015 until 17 January 2016.