Ex Chiesa del Carmine, Taormina 10 marzo – 14 giugno 2017

Il Futuro sopravvenuto

Il Futuro sopravvenuto
Arte-azione, comunicazione e post-umano nel Futurismo
a cura di Giancarlo Carpi e Giuseppe Stagnitta
in collaborazione con Serena Dell’Aira.

Giacomo Balla, Gino Severini, Umberto Boccioni, Luigi Russolo, Romolo Romani, Carlo Erba, Arnaldo Ginna, Carlo Carrà, Leonardo Dudreville, Mario Sironi, Arturo Ciacelli, Roberto Marcello Baldessari, Farfa, Ivo Pannaggi, Virgilio Marchi, Julius Evola, Enrico Prampolini, Fortunato Depero, Francesco Cangiullo, Benedetta, Fillia, Gerardo Dottori, Giulio D’Anna, Tullio Crali, Bruno Munari, Anton Giulio Bragaglia, Arturo Bragaglia, Alfredo Gauro Ambrosi, Tato, Elia Vottero, Angelo Rognoni, Riccardo Ricas e Filippo Tommaso Marinetti.

The exhibition features 70 works coming mainly from the archive Futur-Ism, dalla Collezione Ventura, dalla Collezione Trust Aletta, Fondazione Cirulli, Fondazione Julius Evola, Collezione Edoardo Bosi, Collezione Luce Marinetti some set out in historical shows by Futurist movement in large international events of the time, such the Venice Biennale in 1930 and, after the breakup of the movement in 1944, in some of the top rated museums of the world: the Centre Pompidou and the Musée d’Orsay in Paris, the Guggenheim Museum in New York.

Futurism and objectual art – the man-machine interaction – man / commodities – the transition between the expressive media.

“Blowing the «id» out in literature, namely processing the whole psychology […] and covering it eventually with the substance, whose essence must be comprehended by intuition glimpses” wrote Filippo Tommaso Marinetti in “Technical Manifesto of Futurist Literature” (1912).
This issue, the link between man and raw matter – in Futurism as turned in literature, painting, art as a whole – during its 35 years life cycle, will broad at least three groundbreaking research paths: the symbiosis between man and technology, the symbiosis between man and brute matter, the symbiosis between man and goods. Three aesthetic dimensions leading the vanguard to foretell some of the most outstanding art movements of the post-war period, the Informal and Pop Art, and that over the last fifteen years – cause of the digital revolution and the mutual subsumption between arts and commodities – are back to probe ourselves and our identity as human beings.

The exhibition emphasizes an essential link – whilst partly unexplored – between Futurism and postwar Pop Art (some huge latest shows – like the Depero solo exhibition to Foundacion Juan March in Madrid and the extensive showcase on Depero in the Italian Futurism Guggenheim exhibition, both in 2014 – have moved on this line). More in detail, in the artworks made while Depero was based in New York, as “Subway | Crowd to the Underground Trains” the motion object breakdown in Balla provided to Depero a formal mechanism to represent the serial nature of the products and their fetishistic replicate. But, more deeply, you can see how the “personification” of the item Depero run by his “plays”, has now the aim of making goods as by-standing, living things, to catch purchaser’s attention.

The Futurist Movement is the first avant-garde of the Twentieth century. Founded in 1909 by the Italian poet Filippo Tommaso Marinetti to lead the Country into modernity, yields some insights and newness biasing the other historical vanguards: Cubism, Dadaism and Surrealism, as well as Russian Cubo-Futurism.
The main knack by Futurist artists was the issue of the end of art and its mechanical reproduction. Futurists indeed devised performance by directly connecting art and life. Balla and Depero in 1914 (on the basis of the first multi-material crafts by Boccioni) had the hint of art as an item, with the flair on the plastic ensemble, together with Tatlin’s Controrilievi (1913). Filippo Tommaso Marinetti, since foundation Manifesto, was aware of an essential link between art and media, forecasting some pop art outflows. Fortunato Depero, in 1929, wrote the Manifesto dell’arte pubblicitaria futurista (Manifesto of Futurist Advertising Art). Marinetti revolution in poetry – the “free speech” – upsetting norms of grammar and syntax has pioneered the experimental poetry that explores the arbitrary relations between signifiers and meanings, setting the stage to visual poetry.
The spark of Futurists in the first five years – 1909 to 1915 – was to consider energy as a new subject in the artwork. This idea led them to new materials in arts, and, eventually, to set art out of the canvass. For instance, the sculptures by the first Boccioni already use objects – a railing – from facts, outguessing someway Duchamp ready-mades. At first, the Futurist painters Boccioni, Severini, Carra, Russolo, modify the post-impressionist technique to embody more strictly the energy in color (the “pictorial dynamism”) and in 1912 – grasped Cubism – to get a plastic dynamic synthesis (“plastic dynamism”). In 1914-1915, Balla, who tested abstractionism since 1913, evolves into an abstract analog style.

In the broadest sense, the main issue of the Italian Futurism was to bridge the gap between machinery, technology and human being through a new aesthetic, and to experience more social mode and shared creativity. This led to sense the dangers of the commodification of everyday life and the alienation of man. The idea of art as a social term, the idea of art as interaction, found their forerunner in Italian Futurism.
Critical-historical show slant and set up.
The exhibition takes its cue from this: the idea that technological and computerized world we are in urges to get close to the tech “alien” Futurists critically forecasted in their trial. The will is but to retrace the whole historiographical growth of futurism (1909-1944), to let the audience experience the positive legacy in nowadays,
The selected artworks and a high impact set up and inter-media show underline – in modes dialogue and “active denial” of an “id” mashed up with raw reality, or facilities or goods – the relevance of that aesthetic and its cathartic potential. Deliverance, chiefly, from any professional or creative identity too stiff to sacrifice creativity itself. The essential “Plastic Ensemble Coloured with Din + Speed” by Giacomo Balla, repeated in 1915 Ricostruzione futurista dell’universo (Manifesto of the Futurist Overhaul) for its nondescript status between sculpture and painting is the core of a show willing to be a “total work of art.”

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