On 31 January 1977, the Centre George Pompidou, designed by the architects Renzo Piano and Richard Rogers, opened its doors to the public in Paris. Three months later, on 6 May, Roberto Rossellini wrapped up the editing of a 54-minute film that testified to the public's response to the project. The great Neo-Realist filmmaker was proposed by Jacques Grandclaude, spreadhead of the Communauté de Cinéma, to the French Ministry of Foreign Affairs to celebrate the opening of the building. The result was a sceptical vision: 'A film without comments or music.'

Two parallel works emerged from this collaboration, Rossellini au travail and Le Colloque de Cannes, in which we see Rossellini absorbed in decision making, filming without a script and sensitive to the technical knowledge of his team. Rossellini's film, shot in 35 mm, and this additional material filmed in 16 mm, come together to form a triptych in which the conditions of production are not concealed but incorporated into the work and made visible.

Jacques Grandclaude "Centre Georges Pompidou", 1977 (Filmstill)


Wednesday 10 October 2012

6.30 pm Screening of Rossellini au travail (40 min) and Le Colloque de Cannes (excerpt de 19 min)
Films are subtitled to Spanish.

7.30 pm Panel discussion with Jacques Grandclaude, Roberto Rossellini's last producer; Àngel Quintana, Professor of Film History at the University of Girona, and Carles Guerra, Chief Curator, MACBA.

MACBA Public Programs
Tel. (+34) 93 481 46 81
programespublics [at] macba [dot] cat






Rossellini 77 Triptic
Son[i]a #158
The essence of the fragment and the module resonates deeply in my work.
Pep Agut