Francesco Vezzoli

Fondazione Prada | Milan

The enormous space of the new Fondazione Prada headquarters was divided in two, longitudinally, by a large red curtain. On one side was a movie theater with 120 Mackintosh chairs organized in rows in front of a large white screen edged in black at top and bottom. Two spotlights illuminated the word FINE (“end”) printed on the screen; at its bottom right Francesco Vezzoli had embroidered the signature of Pier Paolo Pasolini. Vezzoli’s exhibition was conceived entirely in relationship to Pasolini and two of his films, the documentary Comizi d’amore (Love Meetings, 1965) and Salò, or the 120 Days of Sodom (1976). Embellishing the chairs’ seats were portraits of the characters in Comizi d’amore, a series of interviews with both ordinary people and famous intellectuals about love and sexuality; to these portraits Vezzoli has added embroidered tears. Salò, an extreme work based on a novel by

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