In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.
, then, is that we are likely to find ourselves
always making up something out of Cravan after our image of the
cultural subversive; when our illusions are discerned, however, and if
we reject our reliance on restraint to the exclusion of intoxication, then
the experiencing and bearing of reality – even through the writing of
panegyric – re-enters in our taking of chaos upon ourselves.
1 Hans Richter, Dada: Art and Anti-Art, trans. David Britt (London and New
York: Thames and Hudson, 1965), p. 86.
2 From Hans Richter, ‘The Self-Immolation of Arthur Cravan
La bomba-romanzo esplosivo,
or Dada’s burning heart
La bomba-romanzo esplosivo
The received wisdom that Futurism was ‘the actual seedbed of Dadaart’ is
often enough repeated (Winter 1996: 141). Beyond the political, however,
the complex problematic nature of the relation between Futurism and
Dada is far less frequently addressed, and Dada’s aesthetic negotiation of
anti-nationalist politics, for instance, is largely ignored. We know that in
rejecting all cultural precedents the Dadaists implicitly rejected Futurism;
Cambridge University Press, 2012), p. 120. On the plane of immanence,
see Gilles Deleuze and Félix Guattari, What is Philosophy?, trans. Graham
Burchell and Hugh Tomlinson (London and New York: Verso, 1994),
11 Deleuze and Guattari, What is Philosophy?, pp. 61–2.
12 Hans Richter, Dada: Art and Anti-Art, trans. David Britt (London and New
York: Thames and Hudson, 1965), p. 86.
13 Daniel W. Smith, ‘Deleuze and the History of Philosophy’, in Smith and
Somers-Hall (eds), The Cambridge Companion to Deleuze, p. 23.
14 Gabrielle Buffet
Spiritualist phenomena, Dada photomontage, and magic
constructing Dadaart as a ‘counterpart to the exactness of photography, a
new kind of art that would at once mimic cinema and instantiate
the “real situation”’.24 Here too can be seen a tension in just what
materiality in art means. The history of thinking about photography
focuses in great part on the status of the medium as representation,
in particular on the question of whether, in C. S. Peirce’s terms,
photography is icon or index, whether its representational mode
consists of resembling the world or of physical connection to it.25
The materiality of Hausmann’s speech
This study explores the fabrications of the human figure across Dadaart,
texts, film, manifestos and performances in the context of the tensions and
ADAMOWICZ 9781526131140 PRINT (4 col).indd 3
contradictions of the ideological, socio-political and artistic situation across
Europe during and after the First World War. Born in Zurich in 1916, at the
heart of a war-torn Europe, Dada emerged at a time of social, economic and
moral crisis, and of major developments in technology and media culture. It
is this period of
‘Kandinsky’: ‘The strongest affinity shown in works of art today is with the
dread masks of primitive peoples, and with the plague and terror masks of
the Peruvians, Australian aborigenes, and Negroes’ (1996: 225). Their exhibitions provide concrete evidence, since tribal art objects were displayed alongside Dadaart works, and non-European rhythms and resonances informed
Huelsenbeck’s ‘chants nègres’ or Ball’s sound poems.22 But their usage openly
overturned the prevailing symbolism of the mask in contemporary European
culture, as articulated by Freud when he writes of
, Picabia and Jean Crotti
sourced their material in mechanical drawings and transformed it, thereby
cocking a snook at the widely admired mechanical sphere, by drawing analogies
between the machine or its movements and human sexual activity.
According to Alexander Partens, in an article titled ‘Dada-Kunst’ (‘Dadaart’): ‘An explosive imagination was at work, whereby the most banal and
mechanical, caught in a brutal grip, were suddenly filled with a new, alien life
in which irony, eroticism, scorn, joy and fatigue resonated curiously’ (1920: 90).5
75 Loy, ‘Mexican Desert’, p. 17.
76 Bob Brown, You Gotta Live; cited in Burke, Becoming Modern, p. 264.
77 Cravan, ‘Des paroles’/‘Some Words’, p. 103.
78 Arte y Deportes, 18 October 1918 and 1 November 1918.
79 From Hans Richter, ‘The Self-Immolation of Arthur Cravan’, in Dada:
Art and Anti-Art, trans. David Britt (London and New York: Thames and
Hudson, 1965), pp. 85–6.
80 Bob Brown, You Gotta Live; cited in Nicholl, Traces Remain, p. 237.
81 Nicholl, Traces Remain, p. 240. The cyclogenesis of the strongest hurricane
on record, Hurricane Patricia, with
activist such as Pablo Echaurren, who is the son of Roberto Matta
and who worked at the time for the newspaper Lotta Continua, read primary
sources which were by then also available in bookshops and libraries. His main
references were Hans Richter’s Dada: arte e antiarte (Dada: art and anti-art),
Tristan Tzara’s Manifesti del dadaísmo (Manifestos of Dadaism), Georges Hugnet’s L’avventura Dada (The adventure of Dada) and André Breton’s Manifesti
del surrealismo (Manifestos of Surrealism).20
While Potere Operaio’s foray into Surrealism was not repeated, Re Nudo,
as well as