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Hans Ulrich Obrist, the curator and co-director of the Serpentine Gallery in London, has spent the past twenty years compiling a truly instinctual encyclopaedia of interviews and conversations with artists, architects, writers, scientists, collectors, musicians, philosophers, historians and thinkers of all types.
These have been written in a highly varied selection of places and for a range of occasions and have been published in every imaginable format.
The meeting with Bernardo Bertolucci is therefore to be considered the prestigious link in Obrist’s tireless and curious activities which have led him to weave a truly multidisciplinary ‘poetics of relation’. Obrist’s interviews have a literary style, like that of an author; they have stylistic refrains and tics, returning obsessions and nuclei. It is not uncommon for the same person to be interviewed several times and for the central interest to focus upon recurring themes such as the relationship with contemporary tradition, utopia, the dialogue between disciplines, the great masters and the unrealised projects.
The conversation with Bernardo Bertolucci will be a special event, in the already formidable gallery of Obrist’s interviews. The creator of Novecento and Last Tango in Paris is one of those complex and layered figures who invites the network of citations, connections and references used by the Swiss curator.
Moreover, Bertolucci is Italian, this is not pointed out simply for the sake of stating the obvious, but because the Italian culture and art of the last half century has been a great inspirational source for Hans Ulrich Obrist who at the age of 18 crossed the Alps and learnt our language in order to meet the great Alighiero Boetti.
The interview will touch upon Bertolucci’s well-known filmography, but it will also look at his relationship with literature and the superb example of his father Attilio as well as the biographical events that linked him to extraordinary personalities such as Pasolini and Moravia.
Above all the public will get a glimpse, as if looking through the peephole of a privileged observatory, at the future of the great emilian auteur: the unrealised project which every artist reserves for the enchanted realm of the possible.
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