Il Giocattolo Futurista': Futurism and Fumetti (original) (raw)
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This essay summarizes the main features of Futurist books, by accounting for their complex originality. Since the early stages of their careers, Futurists employed books as a privileged means of experimentation both in terms of graphics and contents. Authors like Filippo Tommaso Marinetti, Francesco Cangiullo, Carlo Carrà, Fortunato Depero and Ardengo Soffici explored the visual, graphic and onomatopoeic possibilities of written words in parolibere. These authors put into practice a typographic revolution, which aimed to subvert the usual order within a page, through the use of different characters and colours. In particular, Marinetti announced the birth of this peculiar expressive form in his manifests and set the grounds for a renewal of written expression.
The Italian Futurist movement has come back into vogue with its centenary in 2009 and the landmark exhibition at the Guggenheim Museum in New York that ran through 2014. The cultural influence of this movement on the modern era is undisputed, whether we look at paintings, literature, poetry, sculpture, architecture, music, or advertising. It is also undisputed that this avant-garde movement was deeply involved in the politics of both liberal and Fascist Italy. Futurist politics were characterized by a pronounced nationalism and imperialism, and were known for the mantra that war was the 'world's only hygiene' .
Futurismo: Linking Past and Present through an Artistic Aesthetic
Theatre Topics
Ah Futurismo" shouts the recorded voice of F. T. Marinetti as the performers' stark, uplifted gestures arrest the descending light at the conclusion of Futurismo, a dance theatre production at Santa Clara University collaboratively created in 2013 by theatre artist Jeffrey Bracco and choreographer David Popalisky. This collaboration grew out of a mutual interest in the ideas, strategies, and values articulated in the pre-World War I foundational Futurist manifestos by F. T. Marinetti and how he and his collaborators implemented them through performance. Recognizing that the early Italian Futurists' embrace of speed through glorification of machines resonates with our present reliance upon technological innovation, we chose to use performance to critically investigate our relationship with speed and technology in the twenty-first century. This essay considers the implications for undergraduate students and ourselves as teaching artists of the creative choices employed in Futurismo. Our process, with its strengths and challenges, may prove useful for other artist-educators working in academic settings. What follows is a rationale for why the early avant-garde period of Futurism prior to World War I was most relevant to Futurismo's creation and thematic development. Next, we discuss how early Italian Futurist strategies and specific historical artifacts influenced the conceptualization of
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My dissertation argues that Italian Futurism, in twentieth century Europe, was able to gain widespread recognition because it modelled its methods of diffusion after the parliamentary styled campaigns of social movements. Futurism not only introduced a new style of art but also transformed the way in which art was promoted, politicized, and used as a tool for propaganda. Through an analysis of the Futurist communicative strategies - in particular the use of the manifesto, theatrical space, and literary magazines - the dissertation shows how Marinetti and the Futurists were able to bring together different methods of collective action with symbolic acts of self-representation. These elements coalesced into the Futurist campaign, which allowed the movement to spread throughout the world.
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ISBN 9781501343124, 2020
Mather's scholarship demonstrates it was the camera--not the engine--that was the key invention against which many futurist ideas and practices were measured. Overturning some misconceptions about Italian futurism's interest in the disruptive and destructive effects of technology, _Futurist Conditions_ argues that the formal and conceptual approaches by futurist visual artists reoriented the possibly dehumanizing effects of mechanized imagery toward more humanizing and spiritual aims. Through its sustained analysis of the artworks and writings of Umberto Boccioni, Giacomo Balla, and the Bragaglia brothers, dating to the first decade after the movement's founding in 1909, Mather's account of their obsession with motion pivots around a 1913 debate on the role of photography among more traditional artistic mediums, a debate culminating in the expulsion of the Bragaglias, but one that also prompted productive responses by other futurist artists to world-changing social, political, and economic conditions.
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International Yearbook of Futurism Studies, 2022
This essay is the second part of my research devoted to Futurist manifestos from 1909 to 1911 and deals with the publishing history of the manifesto leaflets issued by Marinetti from February to the summer of 1910, when the founder of Futurism employed this print medium for the first time for a large-scale propaganda initiative. It discusses the first edition of the “Manifesto of the Futurist Painters”, the “Technical Manifesto of Futurist Paintings” and “Futurist Venice”, and investigates their variant printings and editions in Italian, French and English. My investigations extend to Marinetti’s parallel publishing activities and have brought to light a number of previously unknown facts which help to establish a more accurate timeline of the developments in early Futurism. In the conclusion, this essay addresses the concept of manifesto leaflets as a new means of communication, which gradually replaced the medium of the magazine and allowed Marinetti to introduce new ways of managing Futurist propaganda and the membership of the Futurist group.
2016
This article aims to reflect on the legacy of Italian Futurism in 20th-century art and culture, as well as to discuss over how aesthetics and futuristic ideology permeate the post-modern and globalized scenario of the present days. In seeking to demonstrate how the futuristic experience contributed to the development of a poetics of contemporary art, we intend to launch a look at Futurism as an aesthetic of time, a motion turned into a kind of archetype of future artistic experiences.