fondazione prada transforms outdoor cinema with film 'multiple canvases'

upon the reactivation of the film program, the cinema building at fondazione prada undergoes a radical transformation and presents ‘multiple canvases.’ for the first time its movable walls will be fully open to create a unique semi-indoor environment opening toward the streets of milan. the hybrid space sees a projection room filled by a constant visual osmosis between its interior, the courtyards, and architectural elements of the rem koolhaas-designed complex.

images by delfino sisto legnani and piercarlo quecchia | courtesy fondazione prada

fondazione prada presents ‘multiple canvases’ from july 2nd until september 25th 2021. the new format reinvents ‘subjective,’ one of the sections that make up its usual programming. with ‘subjective,’ many individual creators from the world of art and culture were invited to share the films they have marked their personal and intellectual formation. meanwhile, ‘multiple canvases’ combines in a single review the works selected by four artists — simon fujiwara, peter fischli, goshka macuga and betye saar — seeking unexpected connections and resonances between biographies, secret passions, and parallel interests. find tickets here.

for three evenings a week, thursday to saturday, at 9:45pm, five films from the ‘multiple canvases’ series will be screened at fondazione prada: orphée noir (1959) by marcel camus (selected by betye saar); bara no soretsu — funeral parade of roses (1969) by toshio matsumoto and nippon sengoshi — madamu onboro no seikatsu — history of postwar japan as told by a bar hostess (1970) by shohei imamura (selected by simon fujiwara); nostalgia de la luz (2016) by patricio guzmán and sayat nova / nran guyne — the color of pomegranate (1966) by sergej paradžanov (selected by goshka macuga).

curator of fondazione prada’s film program luigi alberto cippini comments: ‘cinema can be understood as a collective dream project that connects subjectivity and visual materials through the depth of the individual and the form of social encounter. ‘multiple canvases’ hybridizes the deeply personal visual preferences of four international artists by testing the form of the screening list as a writing practice and a collective project.’