A complete immersion in the evocative cinematographic world of the unique Italian director thanks to an exhibition that tells so much and even more excites the memory. An extraordinary tribute, therefore, to the cinematographic genius of Federico Fellini and to the innovative talent of the editor Leo Catozzo that develops in a journey between wooden clapperboards, posters of the most famous Fellini films and the motorcycles of the master's masterpieces up to the paintings and sketches made by his hand.
The exhibition - La Dolce Vita by Federico Fellini and Leo Catozzo: between dream, magic and reality - will be open throughout December in the spaces of the ArtPort Gallery at the Olbia Costa Smeralda port.
Inaugurated last December 4th, the exhibition was born from the will of the cultural association Il Leone e le Cornucopie with the concession of some iconic examples that have made many of the director's masterpieces famous.
The photographic-documentary exhibition
Anyone who has the opportunity to stop and admire the retrospective curated by journalist Fabio Alescio is lucky enough to get closer to a different aspect of the master. In fact, the protagonists of the first section, located in the Arrivals, are motorcycles, carefully chosen for his films and, sometimes, even designed by himself: elements that have crossed almost all of Fellini's cinematographic production. The two wheels, in fact, although never belonging to the director's personal life, have occupied a symbolic role in his feature films, representing freedom, rebellion and modernity.
“ We started a research group a year ago because we wanted to present a retrospective on Maestro Fellini seen from a perhaps unusual perspective. In an ideal process we therefore came to study even the most unpublished Fellini, the one that emerges from the deep human and professional partnership with Leo Catozzo, ” reports the curator.
The two wheels
Here in the spaces of Olbia airport, each arranged with its own private corner, there are nine icons, all provided by the Sidecar Museum of Cingoli and restored by the film scholar Costantino Frontalini. You can glimpse: Zampanò's three-wheeler from (1954), a spartan vehicle that recalls the poetic wandering of the character played by Anthony Quinn; the Vespa from the timeless , on which the paparazzi fled after having immortalized stolen shots; the Harley-Davidson from the memorable , which the director transformed into a fascinating archetype of the motorcyclist; and also the Ducati Indiana 650 from (1990), the director's last work, then the sidecar used in (1971), which evokes the beloved world of the circus and the Moto Guzzi 500 from (1980).
