Pasolini in chiaroscuro
Group Exhibition
Nouveau Musée National de Monaco – Villa Sauber
Through September 29, 2024

Pasolini is perhaps the last European intellectual to have gained worldwide renown. A half-century on from his death, his influence can still be felt across the different fields in which he worked: he is read, commented on, adapted, and inspires contemporary creative artists. While he preferred to describe himself as a writer, it was his films that brought him to the public’s attention. Cinema, which acted as the perfect sounding board for his political ideas, occupies a central place in his oeuvre. And it is this aspect of his work, seen through the prism of the influence of classical and contemporary art on the aesthetic of his cinematographic work, that is the main focus of “Pasolini in chiaroscuro”.

John Waters
Hollywood's Greatest Hits
February 16–May 8, 2021
Los Angeles

Hollywood’s Greatest Hits features a selection of works, most of which have never been seen before in LA, that shed light on John Waters' decades-long, wide-ranging art practice, and in particular, his humorous and irreverent takes on the movie industry.

John Waters
Beverly Hills John
July 1–August 15, 2015
London

John Waters' first ever exhibition in London, Beverly Hills John, is a fresh set of affectionate barbs about the movie biz. While he hasn’t lost his mordant wit or sense of mischief, Beverly Hills John finds Waters in a more reflective mood, asking the question: ‘Since celebrity is the only obscenity left in the art world, where do I fit in?’ He also hopes to resolve issues about childhood fame, false glamour, the horrors of nouveau-riche excess, his ongoing sexual attractions and the possible risk of ‘careericide’ with dignity.

John Waters
Bad Director's Chair
February 7–March 8, 2014
Berlin

One of the most celebrated directors in American independent cinema, John Waters is at his vibrant best when flaunting Hollywood’s rules or reveling in bad taste. The director of Pink Flamingos (1972) and Pecker (1998) brings the same wit and audacity to the art gallery. Perched upon his Bad Director’s Chair, Waters has cast his eye over some unlikely corners of the film business, transforming his observations of all the glamour and heartbreak of Hollywood into photographic essays and narrative sculptures that are both ridiculously honest and brutally humorous. Waters becomes the self-appointed press agent for his newly conceived “little movies” who would surely be fired the first day of a shoot by the furious producers.