With moving images charged with the innovative spirit of this grand experimenter, Marinella Pirelli achieved pioneering results in experimental cinema. The artist herself speaks of her breakthroughs starting in the mid-60s in her memoirs, “I always had my film camera with me, like a painter has a sketchbook and a pencil. In those years, I took notes with my camera and that’s how I created my works.” The works that saw Pirelli committed to experimental film and the projection of light in space, created between 1961 - the year of her first animated film - and 1974, the year of her last work, Double Self-Portrait, which preceded a thirty-year absence, are at the centre of the itinerary at the Museo del Novecento. The exhibition, staged throughout ten halls, reconstructs the career of Marinella Pirelli through a chronological and theme-based itinerary which analyses the historical context of her artistic relations. From the film Appropriazione, a Propria Azione, Azione Propria, in which the hand of the artist seems to welcome the spectator to the start of a piece of theatre, to the amusing animated films, such as Gioco di Dama, the itinerary carries on with the theme of the female body, which arises from the encounter, in the mid-60s, with the art critic and feminist theorist Carla Lonzi. The heart of the exhibition is Film Ambiente, a cinematographic structure which can be moved through, created and patented in 1969, which demonstrates the work of the artist in the genre of Expanded Cinema, born in the 70s. Among the documents from the Marinella Pirelli Archives, there are projects, papers and photos by, among others, Gianni Berengo Gardin, Fabio Donato and Ugo Mulas.
Samantha De Martin - © 2019 ARTE.it for Bulgari Hotel Milano