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IN THE SUMMER OF 2018
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THE PINO PASCALI MUSEUM
BOUGHT PASCALI'S "BRISTLE WORMS"
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FROM LEGENDARY ART
DEALER FABIO SARGENTINI.
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THE PHOTOGRAPHS DOCUMENTING THIS
ACQUISITION WERE TAKEN BY PINO MUSI.
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ALL OTHER PHOTOGRAPHS IN THE FILM
WERE TAKEN BY PASCALI IN 1963-68.
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This is the story of a man marked
by an image of his childhood.
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The scene that troubled him
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the meaning of which he was
to grasp only years later
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occurred in a cave by the sea
in a distant faraway time.
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It has been found again.
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What?
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Eternity.
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It is the sea gone with the sun.
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This is a warehouse
on the outskirts of town.
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Summer has just begun.
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Foreword - in March 1968
at "L'Attico" art gallery
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which at the time was located
in Piazza di Spagna in Roma,
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an installation by the artist
Pino Pascali was on display.
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This art installation, which essentially
embodied Pascali's artistic inventiveness,
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consisted of an exhibition
of five sets of common objects -
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"Five Bristle Worms and a Cocoon".
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This is a warehouse
on the outskirts of town...
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and this is a gallery.
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What happened?
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What happened to me?
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What am I doing here?
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Pino Pascali was born in Bari
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a town by the sea in Southern Italy.
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He spent every summer in Polignano
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a nearby village overlooking
the Mediterranean
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where both his parents were born
and owned a house.
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I was born by the sea.
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The Mediterranean.
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The light...
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white, blinding.
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The sun...
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warm.
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The land...
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perfumed.
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00:03:51,383 --> 00:03:55,383
The sunlight, the wind,
the rocks, the sea water...
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00:03:56,863 --> 00:03:59,983
its constantly moving surface.
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00:04:41,663 --> 00:04:43,903
What lies beyond the sea?
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As a child, Pino displayed
a lively personality
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00:04:57,743 --> 00:05:00,063
and an irresistible creative streak.
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00:05:01,543 --> 00:05:05,263
Every ordinary object in his hands
became a new toy.
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His restlessness, coupled
with a poor performance at school,
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with the exception of art,
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took him away from home.
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..and finally leave!
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En voyage! To Napoli,
to complete the studies.
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00:06:15,343 --> 00:06:17,463
How long do we have?
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00:06:26,983 --> 00:06:28,743
How much time left?
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00:06:51,063 --> 00:06:52,623
Where are we?
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I don't know...
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I don't recognize this place
but it looks familiar.
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00:07:08,023 --> 00:07:09,063
Wait.
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00:07:11,263 --> 00:07:12,903
I know where we are...
58
00:07:15,383 --> 00:07:16,623
this is the future!
59
00:07:19,983 --> 00:07:22,279
Jasper Johns, Jim Dine
60
00:07:22,303 --> 00:07:23,999
Roy Lichtenstein, Andy Warhol...
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00:07:24,023 --> 00:07:26,703
Venezia, June 1964.
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00:07:27,743 --> 00:07:31,383
Robert Rauschenberg
wins the 32nd Art Biennale.
63
00:07:33,423 --> 00:07:36,199
Remembered as the
“Biennale of the Americans”
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00:07:36,223 --> 00:07:40,359
the show raises bewilderment,
excitement and scandal
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00:07:40,383 --> 00:07:43,519
among the audience, critics, artists.
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The doors are open
for the Pop Art invasion.
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00:07:53,743 --> 00:07:57,599
Annoyed by the excessive reactions
to what is shown at the Biennale,
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Pino will find himself able to reinvent
Pop Art themes in a personal style.
69
00:08:05,063 --> 00:08:08,559
In four short years
in the heart of the Sixties
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his works will invade
the art spaces and galleries.
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00:08:12,503 --> 00:08:14,639
One exhibition after the other
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almost one against the other
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in a restless, creative rush.
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00:08:25,543 --> 00:08:28,503
I alone hold the key
to this savage parade.
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00:08:32,503 --> 00:08:35,463
I alone hold the key
to this savage parade.
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00:10:52,743 --> 00:10:55,943
Bright landscapes, forgotten scents.
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The recollections of a childhood
afternoon resurface.
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00:11:09,183 --> 00:11:11,199
Children's games
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reveries of distant worlds.
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00:11:21,743 --> 00:11:23,463
Metamorphosis!
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A new kingdom.
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An artificial kingdom, made of plastic,
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of new materials,
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of industrial waste!
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00:11:33,583 --> 00:11:35,119
Narcotic communication,
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00:11:35,143 --> 00:11:38,799
psychological seduction of advertising
and the commercial cinema,
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00:11:38,823 --> 00:11:41,239
of banal dramaturgy and its catharsis,
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00:11:41,263 --> 00:11:43,903
of decadent melodies played in HI-FI.
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00:11:51,143 --> 00:11:53,239
1955
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Pino is 20 years old
when he moves to Roma
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to attend the Academy of Fine Arts.
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00:12:07,583 --> 00:12:08,439
Bitumen
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00:12:08,463 --> 00:12:09,479
Sand
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00:12:09,503 --> 00:12:10,479
Sponges
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00:12:10,503 --> 00:12:11,399
Alcohol
96
00:12:11,423 --> 00:12:12,239
Oil
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00:12:12,263 --> 00:12:13,159
Varnish
98
00:12:13,183 --> 00:12:14,239
Gasoline
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00:12:14,263 --> 00:12:15,119
Solvents
100
00:12:15,143 --> 00:12:16,039
Acids
101
00:12:16,063 --> 00:12:17,719
Marble dust
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00:12:17,743 --> 00:12:19,263
and cigarette ash.
103
00:12:23,023 --> 00:12:24,959
The matter...
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the matter is important.
105
00:12:26,703 --> 00:12:28,959
Mario Schifano, Tano Festa,
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00:12:28,983 --> 00:12:31,759
Cesare Tacchi, Franco Angeli,
107
00:12:31,783 --> 00:12:34,279
Francesco Lo Savio, Sergio Lombardo,
108
00:12:34,303 --> 00:12:37,863
Renato Mambor, Giosetta Fioroni,
Jannis Kounellis...
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Pino Pascali.
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00:12:42,783 --> 00:12:46,039
In high school I used to spend
all my time drawing airplanes,
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submarines,
miniature battleships.
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00:12:49,503 --> 00:12:53,079
I would draft them at school
then build them at home.
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00:12:53,103 --> 00:12:55,663
So rather than continue
my scientific studies
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00:12:56,903 --> 00:13:00,903
my urgent need for freedom
led me to pursue art.
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00:13:06,303 --> 00:13:09,159
He attends his classes with enthusiasm,
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00:13:09,183 --> 00:13:11,919
in particular those of Toti Scialoja
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a painter and a poet,
whose iconoclastic spirit
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imbues his students with the passion
for the creative possibilities
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of unusual materials.
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00:13:25,263 --> 00:13:28,103
The artists' studios
transformed in garages
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00:13:29,383 --> 00:13:32,359
the traditional painters'
and sculptors' instruments
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substituted with screwdrivers,
wrenches and blowtorches.
123
00:13:47,063 --> 00:13:49,503
Revulsion against imposed patterns.
124
00:13:52,063 --> 00:13:55,599
Urge to respond to the
oversaturation of signals,
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00:13:55,623 --> 00:13:59,103
symbols and icons of the electric age.
126
00:14:05,903 --> 00:14:08,519
Pino himself pays close attention
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00:14:08,543 --> 00:14:12,383
to the graphic nature of advertising signs
and urban communication.
128
00:14:14,783 --> 00:14:18,319
Still attending the art school,
as a natural transition
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00:14:18,343 --> 00:14:21,223
he will join the world
of commercial advertising.
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00:14:25,143 --> 00:14:26,719
Copywriter
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Graphic artist
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Set designer
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00:14:30,383 --> 00:14:31,559
Photographer
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00:14:31,583 --> 00:14:32,959
even actor
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00:14:32,983 --> 00:14:34,879
lively and humorous
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00:14:34,903 --> 00:14:36,783
an unstoppable creative energy.
137
00:14:56,183 --> 00:15:00,719
Perhaps it is on these level
that moons and comets meet,
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00:15:00,743 --> 00:15:02,183
fables and seas.
139
00:15:26,263 --> 00:15:27,679
The art installation,
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consisting of acrylic brushes
on metal supports,
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is composed as follows -
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1. Red-Green Silkworm,
196cm (22+2 brushes)
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00:15:41,183 --> 00:15:46,983
2. Blue Silkworm, 462cm (39+2 brushes)
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00:15:48,383 --> 00:15:54,183
3. Blue-Red Silkworm,
390cm (42+2 brushes)
145
00:15:56,343 --> 00:16:01,063
4. Green Silkworm, 364cm (39+2 brushes)
146
00:16:04,743 --> 00:16:08,383
5. Green-Red Silkworm,
389cm (42+2 brushes)
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00:16:10,183 --> 00:16:13,799
The dealer is committed to selling
Pascali's artwork to the buyer,
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who in turn is engaged
in the relative purchase.
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00:16:17,023 --> 00:16:20,319
(and a nylon webbed
cocoon of about cm 390)
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00:16:20,343 --> 00:16:22,639
The parties would then proceed
to a joint consultation
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00:16:22,663 --> 00:16:24,959
in the presence of a duly appointed
commission of experts -
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00:16:24,983 --> 00:16:26,799
one member representing the Foundation
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00:16:26,823 --> 00:16:29,399
one member on behalf of Mr. Sargentini
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00:16:29,423 --> 00:16:30,703
and one impartial expert.
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00:16:40,943 --> 00:16:42,343
Pino loves jazz.
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00:16:44,383 --> 00:16:47,279
He drives around the
city in a battered car
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00:16:47,303 --> 00:16:49,903
hungrily looking, searching, gathering.
158
00:16:51,263 --> 00:16:55,639
Shares small apartments
and cramped studios with his friends
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00:16:55,663 --> 00:16:58,983
fills these places with the discarded
objects he's collected.
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00:17:10,463 --> 00:17:12,839
He often goes dancing at the Piper,
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00:17:12,863 --> 00:17:15,423
the most famous dance
hall in Sixties Roma.
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00:17:16,903 --> 00:17:19,303
Dances weirdly, energetically.
163
00:17:21,543 --> 00:17:25,463
He asks for advice on new books
which he reads voraciously.
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00:17:26,903 --> 00:17:28,959
Loves the cinema,
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00:17:28,983 --> 00:17:32,423
haunts the faded movie
palaces of the metropolis.
166
00:17:34,263 --> 00:17:37,383
Gets mad if the hero dies
at the end of the film.
167
00:17:45,983 --> 00:17:47,799
Galvanized by life
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00:17:47,823 --> 00:17:51,079
finds himself daydreaming in front of
the cages in the zoo,
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00:17:51,103 --> 00:17:53,079
the windows of toy stores,
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00:17:53,103 --> 00:17:56,343
the vividly coloured products
stacked in the supermarkets.
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00:18:01,903 --> 00:18:04,359
He often drives towards the sea
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00:18:04,383 --> 00:18:05,383
fast.
173
00:18:06,783 --> 00:18:10,623
Repeatedly falls off his motorcycle
onto the hard concrete
174
00:18:12,183 --> 00:18:14,263
but never stops speeding.
175
00:18:16,783 --> 00:18:19,879
I go to the sea as soon as I can.
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00:18:19,903 --> 00:18:22,183
There is no other
place where I feel so full.
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00:19:26,143 --> 00:19:29,839
In 1964 Pino destroys most of his artwork
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00:19:29,863 --> 00:19:32,383
dismissing it as a transitional phase.
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00:19:34,063 --> 00:19:36,623
Only a few pictures from this time remain.
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00:19:39,103 --> 00:19:42,223
An exhibition is still
out of the question.
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00:19:48,703 --> 00:19:50,039
Informality.
182
00:19:50,063 --> 00:19:51,119
Disorder.
183
00:19:51,143 --> 00:19:52,719
Uncertainty.
184
00:19:52,743 --> 00:19:55,943
Unexpected dialectics between
the artwork and its interpreter.
185
00:19:57,383 --> 00:20:00,479
The selling party grants the Foundation
186
00:20:00,503 --> 00:20:03,799
all rights of economic
use of the art installation
187
00:20:03,823 --> 00:20:05,319
with no exceptions -
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00:20:05,343 --> 00:20:09,543
the right of public display
and public consultation of the artwork...
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00:20:13,423 --> 00:20:16,319
But on January 11th, 1965,
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00:20:16,343 --> 00:20:20,263
Pino's first solo exhibition opens
at "La Tartaruga" in Roma.
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00:20:23,183 --> 00:20:24,639
"Muro di pietra"
192
00:20:24,663 --> 00:20:26,479
"Colosseo"
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00:20:26,503 --> 00:20:28,519
"Ruderi sul Prato"
194
00:20:28,543 --> 00:20:29,879
"Biancavvela"
195
00:20:29,903 --> 00:20:33,079
I will never forget the searing
impression I received
196
00:20:33,103 --> 00:20:35,663
I saw Pino's first exhibition
at "La Tartaruga".
197
00:20:36,863 --> 00:20:39,434
With those huge lips, those breasts,
198
00:20:39,459 --> 00:20:41,975
with the "Wall of Slumber"
made of pillows,
199
00:20:42,000 --> 00:20:44,268
Pascali entered,
with authority and confidence,
200
00:20:44,292 --> 00:20:46,559
the most disputed
and controversial territory -
201
00:20:46,583 --> 00:20:48,159
the world of Pop Art.
202
00:20:48,183 --> 00:20:50,679
And, with this same confidence,
he would then exit.
203
00:20:50,703 --> 00:20:52,959
The originality of those anatomical shapes
204
00:20:52,983 --> 00:20:55,239
the sense of humor
inherent in the 'pillow wall'
205
00:20:55,263 --> 00:20:58,199
would far exceed the borders of Pop Art
thus heading towards a finite,
206
00:20:58,223 --> 00:21:00,799
precisely measured shape.
207
00:21:00,823 --> 00:21:03,879
Extreme terseness of execution,
208
00:21:03,903 --> 00:21:06,703
removal of any Informal remnant...
209
00:21:15,263 --> 00:21:17,183
The exhibition is successful.
210
00:21:19,423 --> 00:21:22,623
Instantly Pascali's poetics
make themselves clear.
211
00:21:26,903 --> 00:21:30,359
Pino shreds his remaining
residues of provincialism
212
00:21:30,383 --> 00:21:33,183
changing both phisycally and in his ways.
213
00:21:39,023 --> 00:21:41,983
Once made, a thing is finished.
214
00:21:43,663 --> 00:21:45,383
Art is a system for change.
215
00:21:57,663 --> 00:21:59,143
Immanent?
216
00:22:00,663 --> 00:22:02,023
What is immanent?
217
00:23:30,543 --> 00:23:33,503
(matter conceived in its immanent biology)
218
00:24:12,983 --> 00:24:16,079
I don't remember precisely when I met him.
219
00:24:16,103 --> 00:24:20,983
He was part of the group of young
avant-garde artists from the 1960s in Rome
220
00:24:23,783 --> 00:24:27,383
and I happened to come across
him through Jannis Kounellis.
221
00:24:29,783 --> 00:24:33,959
I visited him several times in his studio
222
00:24:33,983 --> 00:24:37,063
a ground floor apartment in Via Boccea.
223
00:24:38,943 --> 00:24:43,159
One day he took me into the courtyard
224
00:24:43,183 --> 00:24:48,263
and showed me a warehouse of weapons.
225
00:24:50,143 --> 00:24:52,359
War machines.
226
00:24:52,383 --> 00:24:55,423
A true military arsenal of torpedoes,
missiles and cannons.
227
00:24:56,783 --> 00:25:00,783
I was so shocked and amazed
that I burst out laughing.
228
00:25:04,423 --> 00:25:08,479
I was very surprised to see such
weaponry in the inner courtyard
229
00:25:08,503 --> 00:25:11,999
of an apartment house
on the outskirts of Rome,
230
00:25:12,023 --> 00:25:14,423
weapons surrounded by chickens and hens.
231
00:25:16,703 --> 00:25:20,303
And the weapons were so well-made
that seemed real.
232
00:25:26,743 --> 00:25:28,279
The Weapons.
233
00:25:28,303 --> 00:25:30,079
Childhood games
234
00:25:30,103 --> 00:25:31,943
an endless lifetime passion.
235
00:25:34,463 --> 00:25:39,223
Pino reassembles lifeless materials
and transforms them into new objects.
236
00:25:41,503 --> 00:25:43,743
Things combined in a new functionality.
237
00:25:45,503 --> 00:25:49,103
Regeneration, reinvention of matter.
238
00:26:11,823 --> 00:26:16,183
Gian Enzo Sperone exhibits
the series in march of 1966.
239
00:26:22,863 --> 00:26:27,023
Pino personally drove his weapons
from Roma to the gallery in Torino.
240
00:26:28,943 --> 00:26:32,439
On the road, a policeman pulled
Pino's rented truck over
241
00:26:32,463 --> 00:26:35,799
after he noticed a full-size,
wheeled military cannon
242
00:26:35,823 --> 00:26:38,479
tied to the back fender.
243
00:26:38,503 --> 00:26:41,239
Pino spent quite some time
explaining that yes,
244
00:26:41,263 --> 00:26:43,623
it was a cannon but that it was harmless.
245
00:26:45,183 --> 00:26:46,463
Just a sculpture.
246
00:26:53,423 --> 00:26:56,943
I dream of war of utterly
unforeseeable logic.
247
00:26:58,983 --> 00:27:00,863
As simple as a musical phrase.
248
00:27:10,903 --> 00:27:15,223
Playing doesn't necessarily cancel
the tragic side of existence.
249
00:27:16,903 --> 00:27:20,143
When you necessarily have to play
you're not necessarily free.
250
00:27:27,983 --> 00:27:31,239
Anna,
Pino's best friend and artist herself,
251
00:27:31,263 --> 00:27:34,543
brings him to see The Living Theatre
on stage in Roma.
252
00:27:36,903 --> 00:27:40,343
Pino discovers his calling
towards performing arts.
253
00:27:42,343 --> 00:27:45,479
Not only will he stage actual performances
254
00:27:45,503 --> 00:27:49,239
but he will often pose next to his works
with a playful instinct
255
00:27:49,263 --> 00:27:52,343
conveying an irresistible
sense of storytelling.
256
00:28:29,303 --> 00:28:30,679
The land...
257
00:28:30,703 --> 00:28:31,703
perfumed.
258
00:29:55,823 --> 00:29:56,983
Michelle
259
00:29:58,623 --> 00:29:59,783
Michelle
260
00:30:16,263 --> 00:30:18,199
Fate.
261
00:30:18,223 --> 00:30:22,343
Waves of probability,
loose threads of energy.
262
00:30:23,983 --> 00:30:26,463
Can circumstance be averted?
263
00:30:32,543 --> 00:30:35,239
Somewhere, in different dimensions,
264
00:30:35,263 --> 00:30:38,159
invisible and unknown to human eyes,
265
00:30:38,183 --> 00:30:40,839
infinite ourselves exist
266
00:30:40,863 --> 00:30:43,943
whose lives are only
slightly different from ours.
267
00:30:46,903 --> 00:30:49,703
With a different destiny perhaps.
268
00:30:58,823 --> 00:31:02,279
It's not easy to talk
about Pascali after four years.
269
00:31:02,303 --> 00:31:06,783
He died in September 1968 in a motorcycle
accident in an underpass in Rome.
270
00:31:09,503 --> 00:31:11,983
His death left a great void.
271
00:31:13,143 --> 00:31:18,439
Ours was not an ordinary relationship
between gallery owner and artist.
272
00:31:18,463 --> 00:31:22,999
It was a formidable partnership,
he was my best friend.
273
00:31:23,023 --> 00:31:26,919
We shared a unique friendship
as well as a professional relationship.
274
00:31:26,943 --> 00:31:31,399
And in our relationship,
as in his communication with others,
275
00:31:31,423 --> 00:31:34,703
Pascali would convey
a sense of almightiness.
276
00:31:37,903 --> 00:31:41,559
Victim of a tragic accident, Pino Pascali,
the bad boy of Italian sculpture,
277
00:31:41,583 --> 00:31:43,863
is no longer with us.
278
00:31:45,183 --> 00:31:48,823
(with no limitation of time,
space, purpose)
279
00:31:57,063 --> 00:31:58,879
Departure.
280
00:31:58,903 --> 00:32:00,879
Enough seen.
281
00:32:00,903 --> 00:32:02,143
Enough had.
282
00:32:04,583 --> 00:32:08,623
City noise, in the evening
and in sunlight, and always.
283
00:32:10,983 --> 00:32:12,143
Enough known.
284
00:32:13,183 --> 00:32:14,383
The stations of life.
285
00:32:17,103 --> 00:32:18,903
O Sounds and Visions...
286
00:32:20,343 --> 00:32:22,623
Departure amid new noise and affection!
287
00:32:31,783 --> 00:32:33,799
Pino was lively,
288
00:32:33,823 --> 00:32:37,143
full of unconventional
and surprising thoughts.
289
00:32:41,183 --> 00:32:43,759
The day he eventually bought a motorcycle
290
00:32:43,783 --> 00:32:45,383
he stopped combing his hair.
291
00:32:47,623 --> 00:32:50,703
"The wind will comb my hair", he said.
292
00:33:02,383 --> 00:33:03,503
City noise.
293
00:33:17,503 --> 00:33:19,183
What am I doing here?
294
00:33:31,223 --> 00:33:33,479
I had a dream.
295
00:33:33,503 --> 00:33:36,559
I was walking in the city
in the early morning.
296
00:33:36,583 --> 00:33:38,399
It was strange...
297
00:33:38,423 --> 00:33:41,503
just a few people around,
only a few automobiles.
298
00:33:43,103 --> 00:33:45,943
Streetlights were on
as it was still nightime.
299
00:33:47,023 --> 00:33:48,663
A fascinating contrast.
300
00:33:50,383 --> 00:33:52,279
All houses looked empty.
301
00:33:52,303 --> 00:33:53,999
Empty buildings.
302
00:33:54,023 --> 00:33:55,623
Empty windows.
303
00:33:59,263 --> 00:34:02,919
I didn't feel lonely, I felt calm.
304
00:34:02,943 --> 00:34:05,279
Geometric empty spaces.
305
00:34:05,303 --> 00:34:06,343
Comforting.
306
00:34:12,463 --> 00:34:15,519
All of a sudden mysterious
animals appeared
307
00:34:15,543 --> 00:34:18,023
from the depth of the
earth and from the ashes.
308
00:34:19,303 --> 00:34:21,463
I took photos of them.
309
00:34:24,343 --> 00:34:26,903
I saw them for a while.
310
00:34:29,983 --> 00:34:32,023
I didn't make up anything.
311
00:34:35,463 --> 00:34:39,383
As, when we are in love, we live
the illusion of perpetual remembrance
312
00:34:40,983 --> 00:34:45,023
so I had the illusion that
these animals really existed.
313
00:34:53,383 --> 00:34:56,079
Fragments resurface from the subconscious.
314
00:34:56,103 --> 00:34:59,103
Prehistoric animals come back to life.
315
00:35:01,863 --> 00:35:06,519
In the mid-1960s Fabio Sargentini
succeeds his father Bruno
316
00:35:06,543 --> 00:35:09,119
and takes over the direction of "L'Attico"
317
00:35:09,143 --> 00:35:11,759
at that time located on the top floor
318
00:35:11,783 --> 00:35:14,183
of an apartment building
in Piazza di Spagna.
319
00:35:16,543 --> 00:35:19,599
The gallery opens up to
contemporary art trends
320
00:35:19,623 --> 00:35:21,663
becoming a work of art in itself.
321
00:35:22,703 --> 00:35:24,999
Empty windows...
322
00:35:25,023 --> 00:35:26,879
Mutilation
323
00:35:26,903 --> 00:35:28,383
Identification
324
00:35:29,583 --> 00:35:31,719
Protection
325
00:35:31,743 --> 00:35:33,143
Possession
326
00:35:34,583 --> 00:35:38,239
The first exhibition Sargentini
organizes in his gallery
327
00:35:38,263 --> 00:35:41,999
opens on October 29, 1966,
328
00:35:42,023 --> 00:35:44,343
"Pino Pascali New Sculptures".
329
00:35:48,943 --> 00:35:51,399
Fabulous adventures become real
330
00:35:51,423 --> 00:35:54,503
due to the hyperbolic
intrusiveness of the artworks.
331
00:35:58,263 --> 00:35:59,799
Nothing is true
332
00:35:59,823 --> 00:36:01,543
everything is permitted.
333
00:36:09,463 --> 00:36:13,479
And then the artwork
which most amazed the visitors,
334
00:36:13,503 --> 00:36:15,183
"The Sea".
335
00:36:17,743 --> 00:36:21,799
A bolt of lightning
strikes 24 panels of waves
336
00:36:21,823 --> 00:36:24,119
from which two whales emerge.
337
00:36:24,143 --> 00:36:28,263
Their tails on the wall,
suspended over the water.
338
00:36:36,463 --> 00:36:39,999
Reverberations of Ulysses' travels
339
00:36:40,023 --> 00:36:42,583
of Collodi's shipwreck.
340
00:36:47,743 --> 00:36:49,423
I go to the sea as soon as I can.
341
00:36:51,663 --> 00:36:54,303
There is no other
place where I feel so full.
342
00:37:17,983 --> 00:37:20,943
The blinding light.
343
00:38:03,783 --> 00:38:05,919
1967
344
00:38:05,943 --> 00:38:09,159
Over the summer he displays
his artwork in Paris,
345
00:38:09,183 --> 00:38:11,143
Montreal, Essen.
346
00:38:16,423 --> 00:38:17,983
The 8th of june.
347
00:38:19,343 --> 00:38:21,439
Fire, Image,
348
00:38:21,463 --> 00:38:23,239
Water, Earth
349
00:38:23,263 --> 00:38:25,303
opens at "L'Attico".
350
00:38:26,743 --> 00:38:30,399
For the first time natural elements
enter the gallery space
351
00:38:30,423 --> 00:38:33,103
with their disruptive, primal value.
352
00:38:38,303 --> 00:38:40,703
Rain water covers my steps.
353
00:38:44,583 --> 00:38:47,343
(rainwater covers up
my steps from the sea)
354
00:38:52,103 --> 00:38:53,903
The ground gets reflected in the water.
355
00:38:55,063 --> 00:38:57,503
Real transparency,
artificial transparency.
356
00:39:00,663 --> 00:39:02,999
Water that rises to the surface.
357
00:39:03,023 --> 00:39:05,943
It is the sea gone with the sun.
358
00:39:08,623 --> 00:39:12,639
In July a collective exhibition
of environmental works
359
00:39:12,663 --> 00:39:14,383
opens in Foligno.
360
00:39:16,263 --> 00:39:18,639
Pino shows a new sea
361
00:39:18,663 --> 00:39:22,583
a geometrical sea,
not yet or no longer real.
362
00:39:24,903 --> 00:39:27,119
I chose the sea because...
363
00:39:27,143 --> 00:39:30,719
it's quite some time
I'm chasing its image.
364
00:39:30,743 --> 00:39:34,039
I chose to make the sea with water
365
00:39:34,063 --> 00:39:37,343
because water has got
unpredictable properties.
366
00:39:41,103 --> 00:39:44,943
Specifically its color, that allows
a peculiar depth and spatiality
367
00:39:46,183 --> 00:39:49,143
that is missing in paintings.
368
00:40:06,983 --> 00:40:08,983
The past must be invented.
369
00:40:11,583 --> 00:40:13,543
The future must be revised.
370
00:40:18,063 --> 00:40:20,623
Doing both makes what the present is.
371
00:40:34,423 --> 00:40:37,383
Discovery never stops.
372
00:41:00,503 --> 00:41:03,023
One single day can contain a world.
373
00:41:14,663 --> 00:41:16,703
I'm tormented by my love for you.
374
00:41:35,343 --> 00:41:36,463
It has been found again.
375
00:41:38,143 --> 00:41:39,663
Eternity.
376
00:41:47,823 --> 00:41:50,639
Pino could glue, saw and weld
377
00:41:50,663 --> 00:41:52,663
with swift and expert precision.
378
00:41:54,143 --> 00:41:57,359
When drawing or when labouring
with his materials
379
00:41:57,383 --> 00:42:01,063
he seemed in a state of bliss,
totally absorbed.
380
00:42:03,863 --> 00:42:07,279
Enraptured by an obstinate
frenzy to make things,
381
00:42:07,303 --> 00:42:09,903
his big hands were
active and tense.
382
00:42:11,663 --> 00:42:14,319
Sometimes he injured himself,
cut his flesh,
383
00:42:14,343 --> 00:42:17,319
burned the skin.
384
00:42:17,343 --> 00:42:20,383
A thousand dreams within me softly burn.
385
00:42:22,823 --> 00:42:26,359
At times his enthusiasm
would suddenly drop off
386
00:42:26,383 --> 00:42:30,463
leaving him irascible,
insecure, obsessive.
387
00:42:39,903 --> 00:42:42,959
"I'll die young," he often said,
388
00:42:42,983 --> 00:42:46,703
showing the palm of his hand,
his life-line severed in half.
389
00:43:29,863 --> 00:43:32,399
Shooting what captures his attention,
390
00:43:32,423 --> 00:43:34,959
wandering across the docks of the port,
391
00:43:34,983 --> 00:43:38,143
Pino often returns to
Napoli to collect ideas.
392
00:43:39,463 --> 00:43:41,863
Always close to the sea.
393
00:43:46,303 --> 00:43:48,753
Like his drawings,
these photographic notes
394
00:43:48,777 --> 00:43:51,639
will become an instrument
of reconnaissance
395
00:43:51,663 --> 00:43:55,703
a design track, font of inspiration.
396
00:44:41,863 --> 00:44:44,919
Magic flowers droned.
397
00:44:44,943 --> 00:44:47,319
The slopes cradled him.
398
00:44:47,343 --> 00:44:50,303
Beasts of a fabulous elegance moved about.
399
00:45:11,263 --> 00:45:14,319
1968, March.
400
00:45:14,343 --> 00:45:18,743
"Nature's Reconstruction"
displays at "L'Attico".
401
00:45:22,663 --> 00:45:26,519
Pascali returns to discover
unpredictable materials
402
00:45:26,543 --> 00:45:29,143
carving out unpredictable objects.
403
00:45:49,743 --> 00:45:52,239
The clouds gathered over the high sea,
404
00:45:52,263 --> 00:45:54,663
formed of an eternity of hot tears.
405
00:46:02,063 --> 00:46:04,583
Desire, childhood.
406
00:46:05,903 --> 00:46:09,783
The agricultural myth imbued
with Mediterranean culture.
407
00:46:13,263 --> 00:46:15,359
Pino resets everything
408
00:46:15,383 --> 00:46:18,919
starting from a primal
interpretation of nature.
409
00:46:18,943 --> 00:46:23,423
Yet does so without rejecting
the artifices of industrial materials.
410
00:46:55,543 --> 00:46:57,319
You ask if all things vanish
411
00:46:57,343 --> 00:47:00,039
in this little mist of memories.
412
00:47:00,063 --> 00:47:01,959
I would say to you, no
413
00:47:01,983 --> 00:47:05,383
the hour approaches
when you will pass beyond time.
414
00:47:10,503 --> 00:47:11,943
Primitive myth.
415
00:47:13,383 --> 00:47:14,383
Archetype.
416
00:47:16,783 --> 00:47:17,783
Roots.
417
00:47:23,503 --> 00:47:25,503
Water, land.
418
00:48:11,343 --> 00:48:16,039
Pino is invited to participate
in the 34th Biennale di Venezia
419
00:48:16,063 --> 00:48:19,143
with a room devoted solely to his works.
420
00:48:22,183 --> 00:48:25,079
Over the frenzied months
before the inauguration
421
00:48:25,103 --> 00:48:27,303
he burns the candle at both ends.
422
00:48:33,743 --> 00:48:37,279
An artist's political influence
has to be judged not by his attitude
423
00:48:37,303 --> 00:48:39,663
but by his expressive technique.
424
00:48:41,943 --> 00:48:44,439
We can argue that the Biennale
doesn't work well,
425
00:48:44,463 --> 00:48:48,559
that is a burgeois, fascist,
commercial institution.
426
00:48:48,583 --> 00:48:51,583
But this is not a problem
for the students to solve.
427
00:48:56,703 --> 00:49:00,823
A few days before the opening students
are rallying against the Exhibition.
428
00:49:02,863 --> 00:49:05,062
Considering the Biennale part of the
mechanism
429
00:49:05,086 --> 00:49:07,559
turning art into a mere commodity,
430
00:49:07,583 --> 00:49:10,703
they call on the artists
to retract their works.
431
00:49:12,823 --> 00:49:15,079
The Swedish pavilion dresses in mourning
432
00:49:15,103 --> 00:49:18,063
by covering its glass windows
with black drapes.
433
00:49:19,583 --> 00:49:21,879
One window bears the words,
434
00:49:21,903 --> 00:49:24,183
"The Biennale is dead".
435
00:49:32,263 --> 00:49:33,946
No incidents occurred this morning.
436
00:49:33,970 --> 00:49:37,150
A few dozen students
expressed their dissent
437
00:49:37,174 --> 00:49:39,834
beyond the entrance gates of the Giardini.
438
00:49:41,383 --> 00:49:44,399
In the Italian pavilion an artist
turned his paintings against the wall
439
00:49:44,423 --> 00:49:46,423
while another removed
his artworks entirely.
440
00:49:53,103 --> 00:49:57,199
Pino seems to be the only one
willing to meet the protesters
441
00:49:57,223 --> 00:49:59,439
and engage in a dialogue with them
442
00:49:59,463 --> 00:50:03,303
revealing an independence of thought
that the other artists would not show.
443
00:50:04,623 --> 00:50:08,783
Nevertheless he decides to
temporarily close his pavilion.
444
00:50:12,103 --> 00:50:17,079
There are some who still want to tackle
moral problems with violence.
445
00:50:17,103 --> 00:50:20,359
This is a defeat
as we have lost the freedom
446
00:50:20,383 --> 00:50:23,463
to express ourselves
whenever and wherever we wish.
447
00:50:57,063 --> 00:51:00,799
In particular the five elements
displayed at L'Attico in Rome
448
00:51:00,823 --> 00:51:03,879
complement one another
with four cobwebs
449
00:51:03,903 --> 00:51:05,879
placed at the corners of the gallery.
450
00:51:05,903 --> 00:51:07,999
Therefore, appears to be appropriate
451
00:51:08,023 --> 00:51:11,599
to arrange the acquisition
of the webbed cocoon.
452
00:51:11,623 --> 00:51:14,159
Hence, the present agreement also
applies to the purchase of the concept
453
00:51:14,183 --> 00:51:16,983
for the realization of the cocoon,
to be included in any exhibition...
454
00:51:26,143 --> 00:51:27,663
And white appears.
455
00:51:29,663 --> 00:51:31,063
Absolute white
456
00:51:32,703 --> 00:51:35,103
White beyond all whiteness
457
00:51:37,543 --> 00:51:40,799
White of the coming of white
458
00:51:40,823 --> 00:51:42,759
White without compromise
459
00:51:42,783 --> 00:51:44,359
through exclusion
460
00:51:44,383 --> 00:51:46,919
through total eradication of non-white.
461
00:51:46,943 --> 00:51:48,943
Insane, enraged white
462
00:51:51,103 --> 00:51:53,119
screaming with whiteness.
463
00:51:53,143 --> 00:51:56,783
Fanatical, furious, riddling the victim.
464
00:51:58,023 --> 00:52:00,719
Horrible electric white, implacable,
465
00:52:00,743 --> 00:52:02,239
murderous.
466
00:52:02,263 --> 00:52:04,023
White in bursts of white.
467
00:52:05,583 --> 00:52:06,839
God of 'white'.
468
00:52:06,863 --> 00:52:09,319
No, not a god
469
00:52:09,343 --> 00:52:10,823
a howler monkey.
470
00:53:10,543 --> 00:53:14,023
He who leaves a trace leaves a wound.
471
00:53:18,303 --> 00:53:21,719
Pino Pascali dies
after sustaining injuries
472
00:53:21,743 --> 00:53:26,223
during a motorcycle accident
in an underpass in Roma.
473
00:53:33,583 --> 00:53:35,423
How long do we have?
474
00:53:41,943 --> 00:53:45,703
His room at the Biennale
receives the Gran Premio.
475
00:54:02,983 --> 00:54:04,623
And finally leave.
476
00:54:06,703 --> 00:54:10,279
I had never thought I would
have to write these words.
477
00:54:10,303 --> 00:54:12,623
I have never wanted to write them.
478
00:54:13,903 --> 00:54:16,319
Those who were aware of Pino's artwork
479
00:54:16,343 --> 00:54:19,119
were well acquainted with how
manifold and multifaceted it was,
480
00:54:19,143 --> 00:54:21,319
how much it disclosed
his seething genius,
481
00:54:21,343 --> 00:54:24,439
like the ground after a
heavy downfall of rain.
482
00:54:24,463 --> 00:54:27,199
Yet, for those who met the
person behind the artwork,
483
00:54:27,223 --> 00:54:30,319
this anguishing loss is entangled
with the astonishment
484
00:54:30,343 --> 00:54:33,439
of seeing such a talented
young man disappear,
485
00:54:33,463 --> 00:54:35,399
recalling his dauntless energy,
486
00:54:35,423 --> 00:54:38,479
which seemed to sizzle
like incandescent iron
487
00:54:38,503 --> 00:54:42,423
not only with water, but also within
the air and the surrounding ground.
488
00:54:47,943 --> 00:54:51,783
Where would Pascali have taken
his overbearing imagination?
489
00:54:56,663 --> 00:55:01,799
Our grief has no respite,
our tears burn in vain.
490
00:55:01,823 --> 00:55:04,839
A life so abruptly taken away
491
00:55:04,863 --> 00:55:06,703
is somewhat stifling.
492
00:55:31,663 --> 00:55:34,639
This is the story of a return.
493
00:55:34,663 --> 00:55:38,783
To one's own land, to the sun, to the sea.
494
00:55:40,943 --> 00:55:44,463
What all this truly means
is something we cannot explain.
495
00:55:46,383 --> 00:55:49,639
The answer is different
for each and every one of us
496
00:55:49,663 --> 00:55:53,319
bringing our own story, language,
497
00:55:53,343 --> 00:55:54,903
our own freedom.
35943
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