The Fellini Foundation is honored to present this exhibition in homage to Federico Fellini at the
Palace of Nations in Geneva from18th to 28th February 2019, on the occasion of the election of Italy to the United Nations Human Rights Council.
It is a historic place where the world’s most important international organization working for peace and security, the UNITED NATIONS, defends, together with the community of nations, the human rights on which our civilizations are founded. Here the role of films in culture will remind us of the importance of human values at the heart of the artistic process.
The exhibition contains a selection of documents (posters, photographs, drawings) that illustrate three thematic axes: the freedom of the artist, creativity, and the director’s commitment to the story. There are also audio and visual paths as well as an interactive component. Two themes can be added: 1. The work of creation and production (for example: Il Casanova di Fellini); 2. Fellini’s relationship with great artists of the 20th century, such as: Béjart, Balthus, Moravia, Tarkovski (from letters and photographs / Collection of the Fellini Foundation)
On the eve of celebrating the Centenary of Federico Fellini’s birth (in 2020), the exhibition Federico Fellini, Genius of Humanity – A Tribute to Human Rights invites us to revisit some of the most important works in the history of cinema and, more widely, in twentieth-century art. If Fellini’s films have entered the collective memory and belong today to our imagination, it is because since the
release of his first works in the fifties (Luci del varietà, 1950, Lo sceicco bianco, 1952, L’amore in città,1953), they were seen to be radically original and like no others. From his first films Fellini established himself as a great painter of the human condition and focused on the destiny of ordinary characters or of those rejected by society (La strada, 1954, Le notti di Cabiria, 1957, Il bidone, 1955). This ability to convey humanity with an empathy which allowed for satire brings Fellini closer to Chaplin, of whom he said after his death: He was a sort of Adam we’re all descended from.