Futurism as a Global Vanguard
The inauguration of the exhibit “ABC/F=Futurism” is scheduled for December 14 at the Guangdong Museum of Art of Canton and will be open to the public until March 6, 2011. This exhibit was recently presented in Alessandria in the Palazzo del Monferrato, where it met with great success both with the visiting public and the media.
The idea of bringing the exhibit to China is the brainchild of Riccardo Sessa, the Italian ambassador to China, and of Barbara Alighiero, director of the Italian Cultural Institute of Beijing.
The collection comprises a main section of the most important examples of the history of the Futurism movement. The works illustrate Futurism in its true essence as global vanguard whose ideas spread to art, literature, cinema, music, theatre, fashion, food, applied arts, advertisement and photography.
Among the works on display are the paintings of Giacomo Balla from the Artecentro Collection, of Carlo Carrà with a valuable piece belonging to the Fondazione della Cassa di Risparmio di Alessandria, of Pramplini, Allimandi, Fillia, Djulgheroff, Munari, Palladini, Depero, Farfa and Mori.
The city of Alessandria has contributed three works belonging to the collection of the Pinacoteca Civica: Djulgheroff’s Città grigia (1928), Fillia’s L’uomo meccanico (1928) and Osvaldo Bot’s Costruzione di donna or nudo femminile (1928), one of the first examples of sphere-painting.
Among the sculptures we find those of Mino Rosso, Thayhat and Bertelli, the aerographs of Masoero and the photographs of Castagneri, Guarnieri, Caminada and Alfieri, and posters of Depero, Mastroianni, Carboni, Ratalanga, Di Lazzaro, Marinetti and Djulhgeroff, works from the most important private historical archive of Italian Twentieth Century art The Massimo and Sonia Cirulli Archive; with an accent on commercial art and propaganda in all its manifestations: interior design projects of Djulgheroff, the parolibere of Depero and Rognoni.
The exhibit continues with the delightful designs of Antonio Sant’Elia, projects for the new city, rare examples of Futuristic publishing, from Bot’s unique book La Flora Futurista to the valuable Anguria lirica litolatta by Tullio d’Albissola. The last part of the exhibit contains the work of contemporary artists who have taken the essence of Futurism and applied it to the modern age: the theatrical costumes by Pierpaolo Koss based on designs by Balla used for performance art; the experiments with photo dynamism by Rosetta Messori and Roberto Goffi; the plastic dimension of Peter Nussbaum’s pictorial work; the statements through textile arts by Sofia Rocchetti; the sculptural installations of Massimo Sansavini and finally the combination of design and fashion so dear to Balla, Depero and company.
Plans are now being made to take this exhibit to the cities of Hong Kong and Wuhan. This event is the first part of an initiative aimed at opening an important channel of cultural exchange beginning with the arrival in Alessandria, next year, of “Play in Shadows”, an exhibit promoted by the Chinese government and by Namoc, comprising a collection of Chinese shadow art never before shown in Italy.