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Through opening WINDOWS and AUDIO playings we can give to the viewer the idea of DISCOVERY and REDISCOVERY

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Reproduction of the short film.

Pile of rubbish
AUDIO ON- but individual
Pasolini talking- quotes from the movie.
Real window to the sky? Or fake but beautiful ?

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Using AUDIO and VR glasses experience, the viewers pass through the Main Street of Rome (as in the short movie) to enter a round room made all of red FLOWERS - all FAKES.
THE INNOCENCE OF MEN.

When ready they will be asked to put on VR glasses they will face the REALITY.
WAR IMAGES

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By trying to give a sense to the truest of our realities HERE a mirror that between the exhibition give the viewers a moment to realise that sometimes we have to stop and look at what is beyond.
(Addition of possible AUDIO- P.talking or LATERAL QUOTES)

Avoid the superfluous.

Read the crudity of what surround our quotidianity.

People s behaviour.

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A Poetics of Resistance: Narrative and the Writings of Pier Paolo Pasolini examines the writings of the Italian poet, novelist, filmmaker, theorist, and dramaturg.Since his murder in 1975 - and especially in the last eight years - Pasolini has been the object of growing critical attention, especially in the United States.

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List of Illustrations
Foreword
Acknowledgments
Pier Paolo Pasolini: A Life in Poetry
A Note on the Texts

Il nini muàrt / Dead Boy
David / David
Tornant al Paìs / Returning to the Village
Ciant da li Ciampanis / Song of the Bells
La domènia uliva / Olive Sunday
Dansa di Narcìs / Narcissus Dancing
Pastorela di Narcìs / Narcissus Pastourelle
Il dì de la me muàrt / The Day of My Death
Laris / Thieves
Conzèit / Envoi
II. Da L'usignolo della Chiesa Cattolica (1958)
From The Nightingale of the Catholic Church IV. Da Le ceneri di Gramsci (1957) / From Gramsci's Ashes
Le Albe / Dawns
La Passione / The Passion
In Memoriam / In Memoriam
Litania / Litany
Lingua / Language
Un Cristo / A Christ
Memorie / Memories
L'ex-vita / My Former Life
Ballata del delirio / Delirium Ballad
La scoperta di Marx / Discovering Marx
Poesiole notturne / Little Night Poems
V. Da La Religione del mio tempo (1961) / From The Religion of My Time
"Adulto? Mai-mai, come l'esistenza" /"Adult? Never, never-like life itself"
"Sarebbe così facile svelare"/"It would be so easy to unveil"
"Pieno di confidenza e di tepore"/"Full of intimacy and warmth"
"Chiusa la festa su una Roma sorda"/"At holiday's end, in a Rome deaf"
"La piogga ha verniciato la terra"/"Rain has varnished the earth"
"Se qualcuno mi chiede" / "Should anyone ask me"
"Interrotto nel momento più limpido"/"Interrupted at the clearest of moments"
"Come in uno spasimo del pensiero" /"As in a spasm of thought"
"Correvo nel crepuscolo fangoso" / "I was running in the muddy twilight"
VI. Da Poesia in forma di rosa (1964) / From Poem in the Shape of a Rose
L'Appennino / The Apennines
Le ceneri di Gramsci / Gramsci's Ashes
Il pianto della scavatrice / The Cry of the Excavator

La Ricchezza / Riches
Da La Religione del mio tempo / From The Religion of My Time
Appendice alla "Religione": Una luce / Appendix to "The Religion of My Time": A Light
Al principe / To the Prince
A Bertolucci / To Bertolucci
Alla mia nazione / To My Country
Frammento alla morte / To Death: A Fragment
La Rabbia / Rage
VII. Da Trasumanar e organizzar (1971) / From Transhumanize and Organize
Da "Poesie mondane" / from "Worldly Poems"
23 aprile 1962/ April 23, 1962
25 aprile 1962 / April 25, 1962
10 giugno 1962 /June 10, 1962
12 giugno 1962 /June 12, 1962
VIII. Last Poems
Supplica a mia madre / Plea to My Mother
La persecuzione / Persecution
Una disperata vitalità / A Desperate Vitality
Marilyn / Marilyn
Profezia / Prophecy

Richiesta di lavoro / Job Request
Preghiera su commissione / Commissioned Prayer
Uno dei tanti epiloghi / One of Many Epilogues
Canto civile / Civic Song
La strada delle puttane / The Whores' Road
Versi del testamento / Lines from the Testament
La poesia della tradizione / The Poetry of Tradition
Atene / Athens
Timor di me? / Timor di me?
La presenza / Presence
Ossessione soteriologica / Soteriological Obsession
Appunto / Note
Gli ultimi sogni prima di morire / Last Dreams Before Dying
Introduzione / Introduction
Materiali per l'Introduzione / Materials for the Introduction
Altri materiali, c.s. / Other Materials (as above)
Il giardino dei pesci / The Garden of Fish

Da "L'hobby del sonetto" / From "The Sonnet Hobby"

[1] "Qual è l'idea felice che mi risveglia?"/
"What happy thought wakes me today?"
[13] "Perché mi fermi, a un'ora in cui ci si incontra" /
"Why do you stop me, when by sad coincidence"

[20] "Ascoltate, Signore, questa storia estiva." /
"Listen, Lord, to this summer story."
[55] "Non c'era Ninetto, quando guardavo"
"Ninetto wasn't there, when as a good"
[63] "Volevo semplicemente dire"/ "I wanted simply to say"
[105] "Erano quasi le due di notte-il vento" /
"It was almost two in the morning-the wind"

[110] "C'era nel mondo-nessuno lo sapeva"/
"There was, in the world-though nobody knew it -"
Castalia / Castalia
Saluto e augurio / Goodbye and Best Wishes

Notes
Selected Bibliography and Filmography
Index of Titles and First Lines

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The Selected Poetry of Pier Paolo Pasolini

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Most people outside Italy know Pier Paolo Pasolini for his films, many of which began as literary works-Arabian Nights, The Gospel According to Matthew, The Decameron, and The Canterbury Tales among them. What most people are not aware of is that he was primarily a poet, publishing nineteen books of poems during his lifetime, as well as a visual artist, novelist, playwright, and journalist.

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Pier Paolo Pasolini nella sua casa di Fonteiana 86, Monteverde Nuovo, Roma (1957) © Archivio Luce Cinecittà/Tutti i diritti riservati

Pier Paolo Pasolini Il glicine in La religione del mio tempo (1961), anche in Tutte le poesie , p.591.

Pier Paolo Pasolini nella sua casa di Fonteiana 86, Monteverde Nuovo, Roma (1957) © Archivio Luce Cinecittà/Tutti i diritti riservati

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Il glicine, una poesia di Pier Paolo Pasolini.

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Pier Paolo Pasolini nella sua casa di Fonteiana 86, Monteverde Nuovo, Roma (1957) © Archivio Luce Cinecittà/Tutti i diritti riservati Eccolo, ero morto?, sui bastioni del Vascello - irreali come quest'aria che non conosco da piccolo, o questa lingua di italici pagani o servi di chierici - i bui festoni dei glicini.

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I'll see if I can find a video of this or a way to experience it online (I doubt I'll find anything), but basically this can be deconstructed in:

dark space
little rooms to enter in to the the installation = isolation
neon, bright colours in the dark
complete silence
immersive, in the case of the few gigantic installations (the green room and the doodle on the ceiling)

this is my best exhibition-experience that I had so I thought this could be useful to us :)

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"Ambienti/Environments" is focused on Lucio Fontana's pioneering work in the realm of installation art, with a selection of his seminal Ambienti spaziali -seen together for the first time-that highlights the farsighted, innovative genius of this twentieth-century master.

The Ambienti spaziali ("Spatial Environments"), rooms and corridors that the artist began to conceive and design in the late 1940s, were almost always destroyed once the exhibition was over; they are Fontana's most experimental yet least-known works, due to their ephemeral nature. Some of the environments on view have been reconstructed for the first time since the artist's death through the research of art historian Marina Pugliese and art conservator Barbara Ferriani, co-curators of the show, with the collaboration of Fondazione Lucio Fontana.
Visitors have the opportunity to experience and enjoy this less familiar part of Fontana's oeuvre for the first time, in an unprecedented presentation that reveals their historical importance while conveying their contemporary nature and innovative power.
Lucio Fontana (Rosario, Argentina, 1899, - Varese, Italy, 1968) was one of the most influential Italian artists of the mid-twentieth century. Fontana dedicated his entire career to investigating the concepts of space, light, the void and the cosmos. His work radically transformed our conception of painting, sculpture, and space by transcending the two-dimensionality of the canvas, and foreshadowed many movements of the 1960s and 1970s, like Arte Povera, Conceptualism, Land Art and Environmental art. As the founder of Spatialism, an artistic movement that emerged in Italy in the late '40s, Fontana notably did away with the distinction between painting and sculpture, with his famous slashes and holes in the canvas.
The exhibition is curated by art historian Marina Pugliese, conservator Barbara Ferriani and Vicente Todolí, Artistic Director of Pirelli HangarBicocca, and is accompanied by a catalogue, published by Mousse Publishing, that presents the most up-to-date international research into Fontana's Ambienti, with an extensive selection of essays and images.

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Lucio Fontana Exhibition: Environments | Pirelli HangarBicocca

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"Ambienti/Environments" is focused on Lucio Fontana's pioneering work in the realm of installation art, with a selection of his seminal Ambienti spaziali -seen together for the first time-that highlights the farsighted, innovative genius of this twentieth-century master.

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Some research on how PPP's work relates to religion or deals with religious stories/themes.

Perhaps we could examine his links to religion through exploring how it is depicted and studied in his films (e.g. how he was initially more optimistic and free about religion when it was reflected in old tales but suddenly compromised that vision and rejected that perspective when religion was reflected and looked at in a modern light in how it functions in the modern, contemporary world --> the stark contrast in how religion is portrayed during his Trilogy of Life and then immediately after in Salo).

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(Gramsci inspiration - Marxism)

Evicted from Communist party because...

against Fascist legacy in ITA (Sea town of Sabaudia)

Role of the State and State of Things

against bourgeoisie - In the case of social protest the police (man) is the working class and no the State

"Student movement as revolutionary exigency"

Political participation/activism from a pure literate

+(Build STRONG Narrative with a disrupted technique)

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anything to add?

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I used sketchup to make a rough concept for the exhibition space.

It utilizes the PPP aspect we wanted to incorporate into the exhibit space. There are three P's that form a triangle in-between. It's only a start-up concept but the three circular rooms joined to the triangle could be used for the three aspects of his life we wanted to explore in some way - his catholicism, his homosexuality, and his affliction with communism.

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Where: online and somewhere in the world to bring PPP story to new territories - maybe Malaysia:) Asian tour?

When: 5 March 2022 to celebrate what would have been PPP 100th Bday (Born 5 March 1922)

How:

Set out our story
Where is it? - When is it ? - What are key themes / concepts? - What is the mission/problem to solve?
Keep it factual, short & sweet
(more tips from p.12 - Week 2)

Connect with your audience emotionally

Who are they? what sort of language do they use / concerns they have etc

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check comment for more

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"I'm not one of those intellectuals who read comics," wrote Pasolini just two years before the publication of Umberto Eco's Apocalyptic and Integrated in 1965, which made comic strips culturally respectable around the world. In this sense, the Italian filmmaker was swimming against the tide of most of his contemporaries who brought comics or " fumetti" into the adult realm from the mid-sixties onwards through magazines such as Linus and the Lucca Comics & Games conventions.

Paradoxically, they had all grown up reading the comic strips by the great master Antonio Rubino that had been regularly published along with classic North American cartoons in the Corriere dei Piccoli since the early twentieth century, and which were responsible for European comics definitive tending to target children. Rubino - who described himself as a painter and a poet - had been a seminal influence on Federico Fellini, for example, for whom Pasolini later worked for as a screenwriter on The Nights of Cabiria and, along with others, on La dolce vita.

Fellini strongly acknowledge his emotional debt to the comics of his childhood, embodied in films such as Juliet of the Spirits and Amarcord, and he himself had written the script for an Italian version of Flash Gordon, and, near the end of his life, for Trip to Tulum, illustrated by Milo Manara. Nonetheless, Pasolini's apparent distance from "the ninth art" was not as great as it would seem.

Twenty years earlier, during the period when he worked as a primary school teacher in Valvasone, Pier Paolo had already urged his students to create comic strips of the subjects they were studying, probably under the influence of the new Montessori schools and Gramsci's critical pedagogy. He was thus pre-empting Hugo Pratt's famous claim that "comics are the poor man's cinema".

Pasolini was probably not familiar with the many cartoons that his comrade the poet Mayakovsky had produced in the form of posters during the Soviet revolution, and - only by reserving the role of mere kids' entertainment for comics that the fascist Rubino had conferred on them - he could ignore their political potential in keeping with the heterodox Marxism of Gramsci, who was one of the Italian filmmaker's intellectual influences.

In the first half of the twentieth century, comics were the quintessential popular art, produced and consumed on a massive scale, much like cinema itself. It is true that the characters in comic strips represented stereotypes - a feature that has stigmatised the ninth art but that perfectly expresses the embodiment of the struggle for political-cultural hegemony in the form of concrete figures. And it comes as no surprise that in Italy comics are called " fumetti " - what we call a "bubble" -the little balloon that comes out of a character's mouth to express his voice. The language used in comic books easily became infused with spoken language, popular expressions and even regional dialects or class jargon, a tendency that was by no means alien to Pasolini, whose "trilogy of life" can easily be imagined in comic strip version.

It was no easy feat for the Italian writer to swap his pen for a camera, and in this too he turned to comics for support. As early as his second film, Mamma Roma, Pier Paolo started to write scripts for his own films in the form of storyboards, as a preliminary step to filming. And just a few months before claiming that he didn't read comics, he had written to the publisher of one of his books with a proposal to create one himself: This is the end of a plan for a very strange book; I have in my mind a dozen comic episodes that I would like to film again with Totò and Ninetto, but I may never get the chance because of my many commitments. Now I've developed the script for the last episode of La terra vista dalla luna in the form of a colour "fumetto" (drawing on some of my rough skills as a painter who quit). This being the case, I would like to gradually put together a big book of fumetti... very colourful and expressionistic... where I can gather together all these stories that are in my mind, whether or not I end up filming them.

Unfortunately, Pier Paolo's comic book was never published. But the original storyboard, which is currently on display in the exhibition Pasolini Roma at the CCCB, ended up inspiring one of two recent projects that take the filmmaker into comic books.

After Le ceneri di Pasolini - which was published in 1976 by punk artist Graziano Origa in the magazine Contro -, we had to wait until the 30th anniversary of the murder of the communist poet in order for the world of comics to decide to turn him into a protagonist. In 2005, two graphic novels commemorated the Italian filmmaker: Il delitto Pasolini by Gianluca Manconi and Pasolini by Davide Toffolo.

The first focuses on Pasolini´s lurid murder during Italy's "years of lead", a reconstruction of the events that lies somewhere between drama and an investigation of the final days of the filmmaker, right up to the scene of the crime. This documentary framework lends itself to a syncopated layout in regular vignettes, often featuring talking heads that address the reader, as in a television screen.

Meanwhile, Toffolo's Pasolini gradually turns away from this temptation in favour of a poetic presentation of the filmmaker as a human being and an intellectual figure. In this work, a character representing the author travels through the landscape of today's Italy along with a mythomaniac who thinks he is Pier Paolo, and unearths the storyboard of La terra vista dalla luna in order to re-draw it. The Italian "fumettista" develops the themes of this graphic novel beyond the limits of the printed page in the documentary Pasolini, l'encontro, an animated concert with the rock group Tre Allegri Ragazzi Morti. On 2 July, the CCCB offers Barcelona residents the unique opportunity to participate in a workshop and lecture by Davide Toffolo. A chance to reconcile the ninth art with Pier Paolo Pasolini, a poet, a filmmaker who didn't read comics because, in a sense, he created them.

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The Comics of Pier Paolo Pasolini | CCCB LAB

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"I'm not one of those intellectuals who read comics," wrote Pasolini just two years before the publication of Umberto Eco's Apocalyptic and Integrated in 1965, which made comic strips culturally respectable around the world.

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Brainstorm many different non - linear narrative possibilities for communicating your group’s chosen issue, story in physical / temporal / virtual space

1- Exploring PPP life backwards, from his murder and unravelling what happened (akin to the 2002 French film Irréversible)
2 - dream immersion taking inspiration from one of his movies
3 -

Things to consider:

How will you pace the experience - is there anticipation, exposition, are there clues, challenges, resolution?

Can your audience enter the narrative flow at any point?

How might you encourage / persuade the audience to participate in relevant activities to engage them emotionally / extend the story / enhance the experience?

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click comment for more

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Whoever Says The Truth Shall Die - Pier Paolo Pasolini Documentary 1981 hardcoded English subtitles

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BRAINSTORMING - BASIC NARRATIVE STRUCTURE

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BRAINSTORMING - BASIC NARRATIVE STRUCTURE

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How your intended audience might encounter / engage with information/imagery etc

Soundscape experiences:
1 - sound of the sea waves as PPP was found dead on the beach
2 - noise of the movie camera - while is filming - in the background before video contents start

(Spotify) Playlist:
1 - soundtrack of his movies
2 - its narrative with music and cinema to be investigated (Ennio Morricone case study)

Objects:
PPP car - Alfa Romeo GT founded few weeks ago
[Potentially could be placed in the exhibition]

https://www.formulapassion.it/automoto/classiche/alfa-romeo-gt-2000-pasolini-ritrovata-auto-storia-omicidio-varese-541176.html

How do you sustain their attention?

Making them active users of the installation:

1 - Making sound interactive through physical objects (eg. Old movie camera to be touched in order to activate its filming sound)
2 - PPP quotes in the walls made of red neon letters (his view about the brainwashing effect of the TV)

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https://www.nytimes.com/1977/10/01/archives/film-festival-salo-is-disturbing.html

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In the early 1970s, the great Italian poet, philosopher, and filmmaker Pier Paolo Pasolini brought to the screen a trio of masterpieces of medieval literature-Giovanni Boccaccio's The Decameron, Geoffrey Chaucer's The Canterbury Tales, and The Thousand and One Nights (often known as The Arabian Nights)-and in doing so created his most uninhibited and extravagant work.

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- The realism of his films exploring grounded and controversial issues was a counter-culture to the fantasy elements of Italian cinema
- Exploring his life backwards, from his murder and unravelling what happened (akin to the 2002 French film Irréversible)

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Alighiero Boetti

Ettore Sottsass

Enzo Mari

Pier Paolo Pasolini

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Alighiero e Boetti (1940-1994) was one of the most important and influential Italian artists of the twentieth century. He was a key member of the Arte Povera group of young Italian artists in the late 1960s which was working in radically new ways using simple materials. This is the first solo show by an Arte Povera artist at Tate Modern. Boetti used industrial materials associated with Turin's booming economy and later made works using postage stamps, biro pens, and magazine covers. His work engaged with the changing geopolitical situation of his time, much of it made on his travels to places such as Ethiopia and Guatemala and Afghanistan. Between 1971 and 1979 he set up a hotel in Kabul as an art project and created large colourful embroideries, the most famous of these were the Mappa, world maps in which each country features the design of its national flag. Highlights include works never seen in the UK such as the iconic Self-Portrait 1993, a life-size bronze cast of the artist hosing his head with a jet of water.

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Alighiero Boetti: Game Plan - Exhibition at Tate Modern | Tate

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Alighiero e Boetti (1940-1994) was one of the most important and influential Italian artists of the twentieth century. He was a key member of the Arte Povera group of young Italian artists in the late 1960s which was working in radically new ways using simple materials.

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I AM AWARE THAT YOU GUYS DID NOT WANT TO PERSUE THE DANTE PROJECT, but since I put it down a small example in writing for my own project ( simple draft) I thought I could have shared it with you anyway.