“Fellini was, for me, a great source of inspiration. La Strada and 81/2 were magnificent – but I like all of them. Each movie is its own world; I love the characters, the atmosphere and the intangible je ne sais quoi that emanates from every one.” David Lynch.

The exhibition “David Lynch dreams – a tribute to Fellini” held from September 8 to December 16, 2018 at Maison du diable, espace culturel de la Fondation Fellini at Sion, Switzerland.

David Lynch met Federico Fellini in his hospital room in Rome in 1993. It was a meeting which would have a profound effect on the American director as, only a few days after his visit, Fellini fell into a coma from which he would never recover.

But beyond a personal connection, a real artistic and intellectual affinity between Federico Fellini and David Lynch can be detected in their respective works and their lives. Both originally pursued a career as an artist – the Italian Maestro as a satirical cartoonist and the American director dreamed of becoming a painter at the Pennsylvania Academy of the Fine Arts–but eventually poured their incredible talent and their fascination with dreams vand the subconscious into the silver screen. Several of their films, such as Fellini’s 81/2 (1963) and Lynch’s Mulholland Drive (2001), have earned their place in the Pantheon of world cinema.

An artistic kinship and a memorable encounter are at the heart of this homage by David Lynch to Federico Fellini, featuring a series of works unveiled for the first time at the Maison du diable, the cultural centre of the Fellini Foundation in Sion.

For the exhibition, David Lynch has also selected 12 drawings by the Maestro in keeping with his own work from the collection of the Fellini Foundation for Film (Sion, Switzerland).

Nicolas Rouiller Exhibition’s curator Director of the Fellini Foundation

The images of David Lynch crystallize outside the prevailing and usual systems of expression – which are highlighted by schools, traditions or popular references – a liveliness, an energy and a violence able to shape visions very close to this convulsive beauty that surrealism has evoked since Breton’s Nadja. Just as sea creatures from the deep sometimes rise to the surface of the waters and suddenly reveal their mysterious existence, distant and unknown beings seem to appear behind David Lynch’s images and shatter all conjecture and commonplace perception, as though the idea were to destroy what is real.

Extract of The Laboratory of Metamorphoses Preface of the exhibition catalogue Stéphane Marti Président of The Fellini Foundation

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