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.
Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
‘An infinity of living forms, representative
of the absolute’? Reading Futurism with
PierreAlbert-Birot as witness, creative
collaborator and dissenter
‘An infinity of living forms’
Artist, poet, witness
Wanting to introduce new ideas is good, being unable not to introduce new
ideas is much better. The ism is a bit like a magnifying glass. It magnifies the
precise point under examination, but you can no longer see anything around
it, and this point is so magnified that it attracts: you throw yourself into it,
it swallows you up, and
, newspaper fragments and the Paris
journal Dada. Gurk integrates elements from Der Dada 3: a fragment of Arthur
Segal’s woodcut migrates to Gurk’s right eyebrow and hair, while the verbal
fragments ‘pan-pan-pan’ from PierreAlbert-Birot’s ‘Crayon bleu’ appear
across the figure’s forehead (Benson 1986: 138, 141). The Klebebild displays a shift
from representation to construction as Hausmann abandons the subjectivity of
ADAMOWICZ 9781526131140 PRINT (4 col).indd 223
10.7 Elsa von Freytag-Loringhoven, photograph of Portrait of Duchamp
played by Futurism in establishing the codes of the
avant-garde. Developing further the links between Futurism and contemporary avant-gardes, Debra Kelly analyses the importance of Futurism for
the French poet and painter PierreAlbert-Birot. She argues that his meeting
with Severini in 1915 was the catalyst for his advent to modernism. Futurist
painting, poetry and theatre design inform the early issues of Albert-Birot’s
avant-garde review SIC. However, far from being a Futurist publication,
SIC is critical of the movement.
The following four chapters explore some of
than 1918 and later by Duhamel, Jacob and Supervielle, among others. 29 The book was also praised by the leader of the French haiku movement of the 1910s and 1920s, Paul-Louis Couchoud, who corresponded with Paulhan and played an important role in the 1920 special issue of the Nouvelle Revue Française on haiku, which included original haiku by Paulhan, Pierre-AlbertBirot and Paul Éluard, among others.
A whole corpus of French-language modernist literary production thus risks falling between the cracks because it is neither ‘French’, nor Francophone, nor does it
, south-east of Auxerre (this much allows the confusion of the
Cravant commune’s medieval church and belfry with the Cravans episode
recounted by Renée, discussed in this chapter). See ACSS, pp. 169–70; and
Mercure de France, 1185, Blaise Cendrars memorial issue (May 1962).
Four years before Renée was born, the avant-garde poet and publisher of
Sic (1916–19) in Paris, PierreAlbert-Birot, was born in Angoulême in 1876.
44 Richardson, A Life of Picasso, vol. 2, pp. 195–8.
45 Richardson, A Life of Picasso, vol. 1: 1881–1906 (London: Jonathan Cape,
1991), p. 198.
, 1983), p. 2.
96 Severini, The Life of a Painter, p. 106.
97 Arthur Cravan, ‘Exhibition at the Independents’ (1914), trans. Ralph
Manheim, in DPP, p. 8.
98 Severini, The Life of a Painter, p. 106.
99 Severini was a contributor to the early issues of PierreAlbert-Birot’s artistic
review Sic (see Debra Kelly, ‘An Infinity of Living Forms, Representative
of the Absolute?’, in Elza Adamowicz and Simona Storchi, Back to the
Futurists: The Avant-Garde and its Legacy (Manchester: Manchester
University Press, 2013), pp. 95–112). The close collaboration between