Futurist Avant-Garde...


05/01/17 - Filippo Tommaso Marinetti (Egypt, 1878- Italy 1944) dedicated 35 years of his life to the study of the simbiosis between mankind and technology, mankind and mater and mankind and objects. His Futurist Manifesto introduced an ideological approach to art, denying the past and replacing the methodical investigation for a daring technical experimentation. Those aesthetic characteristics would later lead the Post-war avant-garde, such as Pop Art and Informalism, anticipating the following 50 years, with the digital revolution and the markets ruling the art world
The exhibition "Il Futuro Sopravvenuto" (The Future happened) at the former Carmine Church in Toarmina presents 70 artworks from different collections, gathered together to enhance the notions of sound and speed in painting.
Estate, by Giacomo Balla (1918)
Technique: oil on canvas / Measures: 67.5 x 57.5 cm
Studio di ballerini per il bal tic tac, by Giacomo Bala (1921)
Technique: coloured ink and pencil on paper over wood / Measures: 52.5 x 44 cm
The curators of the exhibition discovered in the artworks of Futurism the seeds of Pop Art, linking the deconstructed objects by Giacomo Bala (1871 -1958) with the serial repetitions of Andy Warhol (1928-1987).
Numeri simpatizzanti, by Giacomo Balla (1924)
Technique: oil on canvas / Measures: 32 x 24 cm
Attraverso + paese, by Gino Galli (1914)
Technique: oil on canvas / Measures: 60 x 50 cm
Studio per sobbalzi di una carrozzella, by Carlo Carrà (1971)
Technique: ink and oil pencil / Measures: 29.1 x 36.5 cm
Futurism pretended to open Italy towards Modernism. It considered energy as the key subject in art, with paintings expanding outside the borders of traditional canvas. But it was also a bridge between mankind and technology. The artists of the movement used this new aesthetic to reflect on social issues and the alienation of the person.
The exhibition might feel a bit tiresome at first, but the trick of linking Futurism with Pop Art pushes us to seek the connection. Unfortunately the church does not offer the proper setting to fully appreciate the artworks, because of its own architecture and lighting.

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Liliana Wrobel

Production & Translation

Carla Mitrani