17 February 2015
The United States viewed through thirty years of Wim Wenders’s photographs. A long journey on which the German filmmaker has set out not so much to document the reality of the country as to find the traces of its cultural imagery and history: the vernacular landscape of Walker Evans, the metropolitan melancholy of Edward Hopper, hyperrealism, the movies themselves. Wenders’s images, often panoramic and in brilliant color, celebrate the beauty of the locations of everyday life, an aesthetics that has inspired many artists and one that reflects an America of dreams and the imagination, recounted endless times. Up until the last pictures in the exhibition, in which Wenders turns his spellbound gaze on the devastation of Ground Zero, immediately after 9/11, as if to show us the disappearance of a certain idea of America.
Wim Wenders. America
Villa e Collezione Panza
Curated by Anna Bernardini
Varese
January 16 > March 29, 2015
Wim Wenders, Indian Cemetery in Montana, 2000.
Wim Wenders, Two Girls on Street Corner in Butte Montana, 2003.
Wim Wenders, November 8, 2001, New York.
Wim Wenders, November 8, 2001, New York.
Wim Wenders, November 8, 2001, New York.
Wim Wenders, Woman in the Window, Los Angeles, California, 1999.
Wim Wenders, Blue Range, Butte Montana, 2000.
Wim Wenders, Lounge Painting, Gila Bend Arizona, 1983.
Wim Wenders, Lovely Louise Old Trappers Motels San Fernando California, 1986.
Wim Wenders, Entrance Houston, Texas, 1983.
Wim Wenders, Western World Development, Near Four Corners, California, 1986.
Wim Wenders, Entire Family, Las Vegas, New Mexico, 1983.