Adler & Conkright Fine Art / Rachel E. Adler Art Advisory

ADAA: The Art Fair

ADAA: The Art Fair

lancio di bombe by angelo rognoni

Angelo Rognoni

Lancio di Bombe, 1917

le duel (the duel. i) by filippo tommaso marinetti

Filippo Tommaso Marinetti

Le Duel (The Duel. I), ca. 1915

carissimo marinetti. saluti depero by fortunato depero

Fortunato Depero

Carissimo Marinetti. Saluti Depero, 1915

l'attesa del fante (waiting sentinel) by angelo rognoni

Angelo Rognoni

L'attesa del fante (Waiting Sentinel), 1917

paesaggio guerresco numerico by fortunato depero

Fortunato Depero

Paesaggio Guerresco Numerico, 1915

Wednesday, March 5, 2014Sunday, March 9, 2014


New York, NY USA

Booth B8

ITALIAN FUTURISM

WORDS-IN-FREEDOM
With his poetic and radical Futurist Manifesto of 1909, Filippo Tommaso Marinetti, proclaimed the absolute need for Italian society to participate in a complete transformation of its culture which had become anachronistic in light of breakthrough advancements in science, technology and communication; he called for a battle, a war to be fought for the creation of a new future.

In the Europe before 1914, all structures were being challenged. When the war was over in 1918, governments had changed. Art would look different, music would sound different and language would look and sound different. Marinetti with his Words-in-Freedom, Apollinaire with his Calligrames, the Zaum of the Russian Futurists Kruchenyk, and Mayakovsky, and the visual anarchy of the Dadaists would produce a change that would eventually evolve into the Concrete poetry movement of the 1960s.

With the first manifesto of 1909, the subsequent “Technical Manifesto of Futurist Literature” in 1912 and the “Destruction of Syntax-Imagination without Strings” of 1913 in which he gave birth to his theory of “Parole in Liberta” Words-in-Freedom, Marinetti outlined the principles of a “visual-sensory” poetry. Among his goals was the recreation of the experience of immediacy and to this end he exalted the destruction of syntax, the abolition of punctuation, the use of mathematical symbols to express rhythm, onomatopoeia and the introduction of the weight, sound and smell of objects. The use of color and innovative typography, and their arrangements to give greater expressive force to the words and forms, would result in a simultaneous vision in which the viewer understands the general meaning of the work at first sight.

By 1914 in a world at war the sights, sounds, smells and feelings of that war became the subjects of art for the Futurists. We see battle plans and sentries; hear and see bombardments. On exhibit are Words-in-Freedom by F.T. Marinetti, Angelo Rognoni, Fortunato Depero, Pino Masnata, Luciano De Nardis, and Tato. These are free word drawings which are accounts of battles, both literal (Rognoni’s Lancio de Bombe) and figurative (Marinetti’s Duel) with the freed letters and numbers forming the images.