Fellini At Work - 3D virtual exhibition by Photology

Fellini At Work

mer, 09/02/2020 to lun, 11/30/2020

curated by:


Between 1950 and 1970 the international film industry experienced one of its most glorious periods in Italy. A group of producers, directors, screenwriters, actors and scenographers, initiated (perhaps for the first time) the term “made in Italy”. Italian neorealism became a cultural genre that impacted society through literature and art. Some of the terms used in this extraordinary period became easily recognizable worldwide: Cinecittà, Dolce vita, Paparazzo, Fellinian... Among these characters, one would undoubtably be synonymous with Italian creativity: Federico Fellini. Fellni made his debut in 1950 marking, in a personal way, four decades of the Twentieth Century with an incredible series of cult movies: I vitelloni, La strada, La dolce vita, 8 e ½, Satyricon, Amarcord, La città delle donne , just to name a few. Fellini practically invented the identity of Italian cinematography, now known worldwide. His films have become a place of autobiographical acclaim; from the obsession of women to the poetry of the Italian province. Although it is most notable at work, behind the scenes of Cinecittà with the actors, or at the desk of a screenwriter or even with journalists for a press conference, that Fellini keeps his natural Gasconian character: “a fantastic fibber with a childlike vision of life” as some colleagues used to say. Reports from the sets recount of an endless series of gags, reinterpreting his Romagna roots with all it’s lunacy. This Photology exhibition “Fellini at work”, adds to this genius from Rimini, also the keen observation of Tazio Secchiaroli. Secchiaroli’s artistic photographic images of Fellini the “man” go beyond the “character” Fellini. Their symbiotic life on movie sets, production offices, and scenography studios, generate a chain reaction. Two characters in one, fellinisecchiaroli (as Ianus Bifrons) who, for almost 20 years, expanded Italian film culture to every corner of the world. As with a story of parallel qualities of a painter and his muse, this idyllic relationship adds value to each of their artistic careers. Even Secchiaroli’s renewal as a set photographer (on his Majesty’s Fellini secret service) essentially represents, with all its ambiguity, the vices and virtues of Country that was beginning to experience an epic era that still exists today in the everyones mind. Both of them, with all their metaphors and formations, lived a “filmic” life. As two of their fa mous epitaphs demonstrate – as if in a film reading the future, “Nothing is known, everything is imagined”, “It’s not true, but I believe it”.

Davide Faccioli, Photology

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