BOOK PRESENTATION

The 2011 international conference “Our Digital Renaissance – Cultural Development, Artistic Creation & Economic Growth” will open with a book launch of the 2009 conference proceedings

Futurismo – Impact and Legacy

Thursday, November 10, 2011
Sala Rosa, Florence University of the Arts

As our historical knowledge of Futurism, its texts and personalities increases, we are now able to examine the original documents of the time in perspective. We then realize that we cannot speak of one futurism anymore, but that we must speak of many futurisms: any simplification of the
movement would not do justice to the cultural complexity of those years.

The eclectic essays collected in this volume represent a testament to how far Futurism has arrived in time, space and in the imagination. In the diversity of their arguments, the works here included exemplify the different perspectives that can be taken towards the subject, well aware that, far from essentializing Futurism, we need to move towards complicating our understanding of the movement.

Please RSVP if you are interested to participate in the events as per the program and invitation hereby attached.

Please answer by Wednesday, 9 November calling 055-0332424 or sending an email to info@squolafirenze.it

INVITO DR e Futurismo

PROGRAMMA Digital Renaissance

TULLIO CRALI (1910-2000)

OIL PAINTING ON BOARD

Squadron of aircraft caught in searchlight over a city
signed and dated (19) 33 lower left
21″ x 25 1/2″ (52.5cm x 64cm)
EST 10,000-15,000
Estimate: 10000-15000

Capes Dunn and Co of Manchester
Northern Artists 25th October 2011
Tullio Crali (1910 – 2000)

After the success of offering a painting by the famous Italian Futurist artist Gerardo Dottori that sold for £22,000 in August, Capes Dunn is offering another Futurist painting in its forthcoming Northern Artists sale on the 25th October, this time by Tullio Crali. Although a late comer to the movement, not joining until 1929 he was an important figure associated with Marinetti with whom he co-authored two manifestos and at his request exhibited in the Venice Biennale, the Rome Quadrennial and several other international exhibitions. In the 1930s Crali played a significant part in the Aeropitture of which this painting is seemingly affiliated. The oil on board of a squadron of aircraft caught in a searchlight over a city is signed and dated 1933. The vivid blue hues contrast with the bright yellow flashes of the searchlight and the disjoined and dizzying perspective of the piece in rambling curves and beams reflect an excellent example of his work.

It is offered in the Northern Artists Auction commencing at 7pm on Tuesday 25th October, for further information: Tel. 0161 273 1911 Email. capesdunn@gmail.com

New Directions in Italian and Italian-American History: A Conference in Honor of Philip Cannistraro

Saturday, November 5, 2011
9:00 am – 6:00 pm
John D. Calandra Italian-American Institute
25 West 43rd Street 17th Floor, New York City (212) 642-2094

Keynote

Emilio Gentile, University of Rome, La Sapienza

“Fabbrica del consenso o fabbrica del potere? Redefining Fascism and Totalitarianism”

New Directions in Italian-American History

Chair: Gerald Meyer, Hostos Community College, CUNY

Charles Killinger, University of Central Florida, “Italian Antifascist Exiles and the Italian-American Community: Renato Poggioli and Gaetano Salvemini as Case Studies”

Marcella Bencivenni, Hostos Community College, CUNY, “Re-examining Italian-American Radical History Through the Lens of Culture”

Peter Vellon, Queens College, CUNY, “‘The humiliation of being treated like Negroes’: The Italian-American Education in Matters of Race”

New Directions in Italian History, I

Chair: Emily Braun, Hunter College & The Graduate Center, CUNY

Paul Corner, University of Siena, “Factories and their Products: A Comment on Phil Cannistraro’s La fabbrica del consenso”

Ernest Ialongo, Hostos Community College, CUNY, “The Calculated Compromise: F.T. Marinetti and Fascism in the Twenties”

William Adams, Hunter College, CUNY, “The politica dei ponti in the Republic of Salò”

New Directions in Italian History, II

Chair: John Davis, University of Connecticut

Marta Petrusewicz, University of Calabria, “Fin-de-siècle Rome: A Republic of Collectors”

Stanislao Pugliese, Hofstra University, “Dancing on a Volcano: Attempting a Popular History of Naples”

David Aliano, College of Mount Saint Vincent, “Re-imagining the Nation: Italian National Narratives Abroad (1922-1945)”

Please RSVP at calandra@qc.edu

Facebook

Dada – Futurismo. Dalle collezioni milanesi

September 29, 2011 – January 15, 2012
Museo del Novecento, Milan
Curated by Vicente Todolì and Italo Rota

Sotheby’s
20th Century Italian Art Including Italian Identity – an Important Private Collection
October 13, 2011
London

Gino Severini, Train arrivant à Paris, 1915

Train arrivant à Paris was originally given to the Dutch collector H. van Assendelft by Severini himself in 1916. Van Assendelft was an early friend and patron of Kandinsky, Mondrian and Severini, and was the first owner of the Stedelijk Museum’s train painting. (Tate)

Train arrivant à Paris is estimated at £500,000-700,000.

Natura morta con arance, 1917, is estimated at £400,000-600,00.

Let us not forget the Severini which sold in 2008 for £15.04 million (NYTimes) – making it the most expensive Futurist work ever sold at auction.

More on the sale here.

More images of Severini’s work here on Mid-Centuria.

Serrada Futurista

August 8 – 21, 2011
Serrada di Folgaria (TN)

Third installment of ‘Serrada Futurista’ – a celebration of Futurism in Folgaria.

Program

2nd installment (2010)

Una settimana di cultura, musica, teatro ed enogastronomia all’insegna del connubio tra movimento Futurista e lavorazione della pietra. E’ ‘Serrada Futurista’, alla terza edizione nell’omonima frazione di Folgaria, che riservera’ un’attenzione particolare al porfido. La manifestazione, nata in occasione del centenario della nascita del Futurismo, trova collocazione in uno dei luoghi che Fortunato Depero aveva eletto per le proprie vacanze e si terra’ dall’8 al 21 agosto.

FU.MO – Futurismo Morcianese

Morciano (RI)
July 29 – 31, 2011

more info

PDF 2011 program

Celebration in 2010

Anfang gut. Alles gut.
Actualizations of the futurist opera Victory Over the Sun (1913)

July 16 – October 16, 2011
Kunsthaus Bregenz Arena
Catalog

The Futurist opera Victory over the Sun, which received its premiere at the Lunapark Theater in St. Petersburg in 1913, attempted to “create a collective work based on language, painting, and music.” Its authors – the poets Velimir Khlebnikov and Aleksei Kruchenykh, the composer and painter Michail Matjuschin, and the painter Kazimir Malevich – wished to construct an “anti-harmonious” work against the current of their time. This was in Czarist Russia in the years between industrial modernization and peasant ser fdom and after the attempted revolution of 1905. While in their enthusiasm for technology the Italian Futurists had already glorified machinery before World War I and brought it to bear against people, Russian Futurism took off from an idea of the future that seemed possible only by fundamentally deconstructing the as yet scarcely industrialized present.

Anfang gut. Alles gut. is the long-term project of an evergrowing group of currently forty international artists, musicians, architects, and writers who are picking up the threads of the past and actualizing them. Since 2008 those involved have drawn on the historical text and documentations of its performances as well as the opera’s reception history to develop formats translating the almost 100- year-old material in contemporary forms into the present. To begin with, the producers selected individual aspects of the opera, such as characters, costumes, stage set, text, music, or lighting and made them the starting point for their own artistic explorations.

More via ArtDaily.org

Enrico Prampolini, Animismo geometrico, 1952

Le storie dell’arte. G.randi N.uclei A.rte M.oderna II

June 24 – October 23, 2011
Galleria Nazionale d’Arte Moderna, Roma
Catalog (Electa)
images here

This is the second exhibition of a series in which the National Gallery of Modern Art shows groups of works belonging to its own collection.

This cycle is dedicated to protagonists of the Italian art panorama of the end of the 19th century and beginning of the 20th, from Medardo Rosso to Pino Pascali.

It includes works by Balla, De Pisis, Mafai, Morandi, Prampolini, Sironi and others, some of which have never been shown to the public before.

Banished? Productions presents:

Tactile Dinner Car

July 7,9, 21-24, 2011
Baldacchino Gypsy Tent
607 New York Av NW DC

September
Flashpoint Gallery, 916 G St NW DC

The premier of Tactile Dinner Car is presented as a part of the 2011 Capital Fringe Festival, a program of the Washington, DC non-profit Capital Fringe.

Tactile Dinner Car will serve up playfully audacious “dishes” appropriated from F.T. Marinetti’s Futurist Cookbook, a tome of avant-garde experiments that use jarring sensory experiences to renew the art of eating. Marinetti, the “Father of Futurism” and his artist-chefs looked at food as materials to be put together sculpturally, experientially, and oftentimes contradictorily, serving up inedible food for sensorial contrast and theatrical entertainment. By reconnecting the act of consuming with all five senses and encouraging playfulness with food, audiences visiting banished? productions’ Tacti le Dinner Car will embark upon a one-of-a-kind sensory/gustatory journey, with a renewed relationship to food at the destination

Pulling inspiration for its shape from Buckminster Fuller’s Dymaxion Car, Ernest Trova’s “Falling Man” sculpture and the Mercedes F-Cell Roadster among many other influences, the TACTILE DINNER CAR aims to mobilize the pseudo-edible Futuristic fusion of cuisine and theatre. TACTILE DINNER CAR will serve up playfully audacious “dishes” appropriated from F.T. Marinetti’s Futurist Cookbook, a tome of avant-garde experiments that use jarring sensory experiences to renew the art of eating.

Tickets will be sold in 15-minute increments during the operation hours and the length of each person’s experience will be self-determined.

Rotating A la Car(te) Items:

THE CHOSEN
DUPELICATION
LIBYAN AEROPLANE*
THE MANOEUVER
ANOSMIA STIX
THE SUSHI INJECTURE
OX IN THE COCKPIT*
(FOOD) FETISH
BLACK & WHITE*
BATTAGLIA*
DEVIL IN BLACK KEY*
PRELABIAL EXERCISE
BETWEEN HUNGER | BOREDOM

Complimentary Assorted Palate Cleansers

*Prepared from the Original Futurist Recipe

Read review in Washington City Paper

Previous Banished? Productions Tactile Dinners

Mariano Lutzu, a researcher in Nuoro (Sardinia) came across a sculpture, signed in the lower left corner “Balla” on the tomb of Musso Rosina, widow of Gambetta, who was born in Savona October 7, 1955 and died March 16, 1907 in Nuoro.

Lutzu is the author of Sa ‘e Manca. Memoria e arte nel cimitero di Nuoro

via La Nuova

TJ Norris and Scott Wayne Indiana, M_US__EUM, 2007
via D.T. of Pictures That Like Me

Museums: cemeteries!… Identical, surely, in the sinister promiscuity of so many bodies unknown to one another. Museums: public dormitories where one lies forever beside hated or unknown beings. Museums: absurd abattoirs of painters and sculptors ferociously slaughtering each other with color-blows and line-blows, the length of the fought-over walls!

Musei: cimiteri!… Identici, veramente, per la sinistra promiscuità di tanti corpi che non si conoscono. Musei: dormitori pubblici in cui si riposa per sempre accanto ad esseri odiati o ignoti! Musei: assurdi macelli di pittori e scultori che varino trucidandosi ferocemente a colpi di colori e di linee, lungo le pareti contese!

Musées, cimetières!… Identiques vraiment dans leur sinistre coudoiement de corps qui ne se connaissent pas. Dortoirs publics où l’on dort à jamais côte à côte avec des êtres hais ou inconnus. Férocité réciproque des peintres et des sculpteurs s’entre-tuant à coups de lignes et de couleurs dans le même musée.

- Fondazione e Manifesto del Futurismo, 1909

Car fetish. I drive therefore I am.

June 8 – October 9, 2011
Museum Tinguely, Basel
Catalog

The exhibition presents a diversified overview of the automobile in its role as most important cultural asset of the 20th century and its depiction in art, starting with the Futurists’ frenzy for speed, its mediatisation in Pop-Art and down to our present-day motorized cultural transfers.

The Vorticists: Manifesto for a Modern World

June 14 – September 4, 2011
Tate Britian

Vorticism was a radical art movement that shone briefly but brightly in the years before and during World War I. This exhibition celebrates the full electrifying force and vitality of this short-lived but pivotal modernist movement that was based in London but international in make-up and ambition.

The Vorticists forged a distinctive style combining machine-age forms and energetic imagery, embracing modernity and blasting away the staid legacy of the Edwardian past.

Focusing on the only two Vorticist exhibitions mounted during the lifetime, in London and New York, this striking exhibition brings together over 100 key works; including photography and literary ephemera, as well as seminal pieces by Wyndham Lewis, Jacob Epstein and Henri Gaudier-Brzeska.

This exhibition aims to shine a new light on this revolutionary group of artists, presenting the style, radical aesthetics and thoughts of one of the most truly avant-garde art movements in British history.

Exhibition was previously on view at the Peggy Guggenheim Collection and the Nasher Museum of Art

File under ‘just for fun‘:

Camparitivo Time!

Italian designer Matteo Ragni, influenced by Fortunato Depero’s design of the Camparisoda bottle, designed the Campari Bar, including ‘Talent Capsules’  and campari bottle-inspired glasses at the La Triennale Design Museum in Milan.

via Cool Hunting
See also “Campari: Is America finally ready for Italy’s favorite aperativo?”
New York Art Resources Consortium post on Campari

Cheers to my Campari-and-design-adoring friend, James Campbell Taylor!

Ardengo Soffici, Natura morta con fruttiera e colomba, 1914, Fondazione Carima, Macerata

Lo stupore nello sguardo. La fortuna di Rousseau in Italia da Soffici e Carrà a Breveglieri

March 24 – June 1, 2011
Fondazione Stelline, Milan
Curated by Elena Pontiggia
Catalog

Il percorso espositivo si apre con opere emblematiche di Henri Rousseau, il Doganiere, come Veduta della Passerelle de Passy , 1890-91 (Collezione Città di Lugano, Donazione Milich-Fassbind), definito dalla critica francese “di eleganza eccezionale”, o come Pavillon (1901), appartenuto a Soffici, e l’inedito disegno Testa di cane, 1901 ca., già appartenuto a Carrà.

Seguono le opere di Ardengo Soffici, tra cui le monumentali Decorazioni di Bulciano, (1914), eseguite per la casa di Papini, e i famosi Trofeini (1914-1915), le poetiche nature morte ispirate alle insegne dei venditori di cocomero. A lui si affianca Carlo Carrà con alcuni dei suoi massimi capolavori “rousseauiani”, come La stella del Cafè-chantant, Ricordi d’infanzia e La carrozzella (MART di Rovereto), tutti del 1916; quindi Tullio Garbari, Gigiotti Zanini e Ottone Rosai con i suoi omini, le osterie e le vie d’Oltrarno dei primi anni Venti.

La mostra indaga poi l’influsso di Rousseau a Roma, su Antonio Donghi e Riccardo Francalancia , e a Milano, dove negli anni Trenta si sviluppa un vasto movimento “primitivista”, con Renato Birolli, qui con il suggestivo Arlecchino suonatore(1931), Umberto Lilloni con Arenzano(1931), mai esposto dopo il 1933, e su artisti come Antonio Calderara, Giovanni Fumagalli, Atanasio Soldati, Francesco Speranza, Fiorenzo Tomea, Gianfilippo Usellini .

Un omaggio particolare è riservato a Cesare Breveglieri (1902-1948), a trent’anni dalla sua ultima antologica. Dell’artista milanese sono esposte tutte le opere più importanti, nelle quali dipinge una Milano “ingenua”, trasognata e magica .

Carlo Carrà

October 27, 2012 – January 27, 2013
Fondazione Ferrero, Alba

Roma, 21 mag. (Adnkronos) – E’ a Carlo Carra’ che sara’ dedicata la prossima grande retrospettiva promossa dalla Fondazione Ferrero. La mostra e’ in calendario dal 27 ottobre del 2012 al 27 gennaio del 2013, nella sede della Fondazione ad Alba. Lo annuncia la Fondazione Ferrero che ne ha affidato la curatela a Maria Cristina Bandera, studiosa che ha ‘firmato’ anche la recente mostra sui paesaggi di Giorgio Morandi, esposizione accolta con entusiasmo dal pubblico e molto apprezzata dalla critica.

Nella nuova impresa culturale, la Fondazione Ferrero sara’ affiancata dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi di Firenze e dalla Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici del Piemonte.

Sono passati vent’anni dall’ultima grande mostra monografica dedicata all’artista (Carlo Carra’, Roma, Galleria Nazionale d’Arte Moderna, 1994) e gli studi che sono proseguiti in questi due decenni consentono oggi di mettere ancor meglio a fuoco la vicenda artistica di Carra’ che questa mostra intende rileggere in tutte le sue diverse fasi. Dalle prime prove ‘divisioniste’, ai capolavori del Futurismo, l’ ‘antigrazioso’, la Metafisica, il ‘Realismo mitico’ e i paesaggi a partire dagli anni Venti, le composizioni monumentali di figura degli anni Trenta e una selezione di nature morte, cosi’ da arrivare fino agli ultimi anni della sua attivita’.

Gerardo Dottori, Un italiano di Mussolini (aeroritratto di Mario Carli) (1931)

Mario Carli e Fiume nel 150° dell’Italia Unita
Foyer del Teatro Comunale
May 23 – 28, 2011

DISCUSSION

Mario Carli, futurista legionario sanseverese, con D’Annunzio a Fiume

May 27, 2011 | 6:30pm
Sala “Nino Casiglio” della Biblioteca comunale, San Severo

- Moderated by Alessandro Marco Fusco dell’Ades, Amici e Discendenti degli Esuli Istriani, Fiumani e Dalmati
- Panelists include Marino MCICH and Gianclaudio de Angelini from the Archivio Museo Storico di Fiume in Rome.
- Presentation of Gabriele Marconi’s book “Le Stelle Danzanti”

Wiki – Mario Carli
more info

Carlo Carrà – Uberto Bonetti
Primo e Secondo Futurismo si incontrano a Quargnento

May 7 – 22, 2011
Sala d’Arte “Carlo Carrà” del Palazzo Municipale, Quargnento
Catalog

Press Release
Coverage of opening

Fortunato Depero - Riso cinico, Roma, 1915. Fotografia, 90 x 95 mm. Rovereto, Mart, Archivio del ‘900 Fondo Depero

Three ways to immerse yourself in Futurism in Rovereto this spring.

LOOK: Voci del Futurismo. Trent’anni d’avanguardia

February 2 – June 12, 2011
Museo di arte moderna e contemporanea di Trento e Rovereto (Mart)

Tullio Crali. La donazione

October 29, 2010 – May 1, 2011 (extended from March 6)
Casa D’Arte Futurista Depero – Rovereto (Mart)
Curated by Nicoletta Boschiero

Roberto Iras Baldessari. Futurista Vagabondo

May 14 – October 30, 2011
Casa D’Arte Futurista Depero – Rovereto (Mart)
Curated by Nicoletta Boschiero