MARIO MARTONE 1977-2022
Creazione video-opera Mario Martone Montaggio Natalie Cristiani Assistenti al montaggio Giulia Simonetti, Alessandro Minestrini Ricerche e Archivio Francesca Cutolo, Giulia Simonetti Produzione Fondazione Donna Regina per le arti contemporanee/Museo Madre - PAV di Claudia Di Giacomo e Roberta Scaglione/Archivio Mario Martone
Film Flusso was originally conceived for the exhibition MARIO MARTONE 1977-2018 curated by Gianluca Riccio for the Museo Madre of Naples in 2018. Film Flusso has been re-elaborated and updated by the director with his latest works on the occasion of the current Pesaro retrospective.
The spazio bianco gallery is happy to welcome back the Pesaro Film Festival. It pursues its investigation of the independent Italian scene, hosting works by authors – emerging, or already established ones – that would suffer from conventional screening, because of duration or type of viewing.
This year, we look back. We offer a retrospective of the works made by Mario Martone over the 1990’s, thus completing the Teatro Sperimentale programme of his feature films.
The two rooms of the gallery host the “expanded cinema” of the Neapolitan director: from documentaries to portraits of the artist, up to videoteatro. We find an already mature gaze, but a particularly curious and inquiring one which leads to the discovery of ‘other’ worlds, different from those of feature films like Death of a Neapolitan Mathematician, a major work. It is a multifaceted production, which allows us to discover the roots and the artistic coming of age of Martone, i.e., the fertile breeding ground in which his gaze developed – as in the gallery of Lucio Amelio, the theatre of Antonio Neiwiller, or the paintings of Mimmo Paladino. The selection offered at spazio bianco is fundamental to understand his following films, to appreciate the radical and significant anachronisms – such as the presence of reinforced concrete – found in We Believed: “A gash that derives from my relationship with the artists, from the gesture practised in contemporary art”, says Martone, “like a cut in the nineteenth-century canvas”. His films are always in dialectic relationship with history, with time. What happens there entertains a direct relationship with the present too.
The spazio bianco programme shows the foundations underlying the cinema of Martone; these foundations make him a great director who can always see and interpret the present, whether he deals with the Italian Risorgimento, whether he stages Matilde di Shabran at the Rossini Opera Festival in Pesaro, or Verdi's Falstaff at the Staatsoper in Berlin.
ALL SCREENINGS ARE FREE