‘Pantalla Pavelló’ is the film cycle that delves into the relationship between the built space, its limits and its borders, and the inhabitants that live there, and how this relationship is accentuated and revealed in its maximum expression Architecture, and with it cities, determines and influences the way we live in the same way that our rules of coexistence and the laws that govern societies do.
The Fundació Mies van der Rohe starts a tour through different cities and their representation in films beamed directly on the travertine of the Mies van der Rohe Pavilion. Rome has for many decades maintained a special relationship with cinema, since it has been the scene and protagonist of hundreds of films and because it is home to Cinecittà’s studios, where around 3,000 films have been shot.
Drawing a picture of Rome through its cinema is only apparently simple. There is Fellini’s Baroque Rome, the “stupenda e misera città” of Pasolini, De Sica and Rossellini’s Neorealist one, William Wyler’s postcard image of the city, Cinecittà’s plasterboard construction, Woody Allen’s tourist city and Michele Placido’s criminal Rome. All false, since cinema is always a fiction, and at the same time real, it makes up a fragmented portrait of a city that contains everything we love and hate in the world.
Fellini said that Rome had not changed since 1938 and that its inhabitants had been immersed in the dream of the Seicento, fossils as healthy as an ox: “Rome does not draw schemes, it does not know about psychoanalysis, it is a pre-freudian marsh where one feels really good; it does not protect, but eventually it becomes one’s apartment, Piazza del Popolo the living room, Via Veneto the bedroom.
This heterogeneous and multicultural city that emphasizes diversity both in its buildings and its inhabitants and visitors, is built of cultures and identities, but also of materials. One of them, travertine, has been part of the city’s in morphology for more than two millennia and is also the most characteristic material of the Barcelona Pavilion by Ludwig Mies van der Rohe and Lilly Reich (1929).
This summer’s four films show different Romes: fragmented, industrialized, uprooted, unique and also arbitrary, as well as neighboring and ongoing. In cinema, the city presents itself as a theme, as a scenic context, as part of the discourse or as an exploration of the urban space. The cycle shows the relationship between this built space and the inhabitants that live in some of the city’s most extreme places: road rings, jet set meeting places, empty summer streets, tourist occupation and urban residual spaces.
A cycle that reflects on the built space that surrounds us, the cities we want and, therefore, the society we want.
Stupenda e misera città,
che m’hai insegnato ciò che allegri e feroci
gli uomini imparano bambini,
Stupenda e misera
città che mi hai fatto fare
esperienza di quella vita
ignota: fino a farmi scoprire
ciò che, in ognuno, era il mondo.
Pier Paolo Pasolini, Il pianto della scavatrice
Great and miserable city,
that you have taught me what happy and fierce.
men learn as kids,
Great and miserable
city that you made me have
experience of that life
unknown: making me discover
what, in each one of us, was the world.
June-September 2018 at 21:30h VOSE
Free entrance. Limited capacity. Reservation required.
Caro diario (IT, 1993, 96’), Nanni Moretti
Presentation: Cecilia Ricciarelli, doctor’s degree in cinema and IED professor.
La grande bellezza (IT, 2013, 142’), Paolo Sorrentino
Presentation: Celia Marin, architect and ETSAB professor.
Lo chiamavano Jeeg Robot (IT, 2016, 112’), Gabriele Mainetti
Presentation: Andrea Tappi, historian and professor.
Organisation: Fundació Mies van der Rohe
Curator: Daniele Porretta, architect and professor at ELISAVA.