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The avant-garde and its Legacy

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.

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The Futurist manifesto as avant-garde advertisement
Matthew McLendon

1 Engaging the crowd: the Futurist manifesto as avant-garde advertisement Matthew McLendon Matthew McLendon Engaging the crowd In April 1912 Umberto Boccioni, writing to Carlo Carrà from Berlin and the travelling Futurist exhibition, expressed his concerns about the lack of publicity surrounding the event. He complained: ‘I fear that there is not the tremendous interest of Paris and London, because the publicity has been badly organised. Marinetti should be here, it is necessary. I am neither a journalist nor a writer, nor do I have his name, or the experience

in Back to the Futurists
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Elza Adamowicz and Simona Storchi

Scuderie del Quirinale (20 February–24 May 2009) and London’s Tate Modern (12 June–20 September 2009), focused on the confrontation between Futurist and Paris avant-garde artists, as well as Futurism in Britain (Vorticism) and Russia (Cubo-Futurism). It was accompanied by an extensive catalogue with contributions by curators D. Ottinger, E. Coen and M. Gale, as well as G. Lista and J.-C. Marcade. The centenary of the first Futurist manifesto was celebrated by a number of other exhibitions in Italy, among which it is worth mentioning the exhibition held at the MART (Museo

in Back to the Futurists
Luca Buvoli and the legacy of Futurism
Elisa Sai

18 A Very Beautiful Day After Tomorrow: Luca Buvoli and the legacy of Futurism Elisa Sai Elisa Sai A Very Beautiful Day After Tomorrow As with every anniversary, the centenary of the publication of the Futurist manifesto has stimulated a discussion about the significance and impact of Futurism on its contemporary and later Italian and European culture. In art, it has occasioned a great opportunity to see and appreciate a whole range of works that are not normally available to the public. However, the study and interpretation of Futurist art have always been

in Back to the Futurists
Futurist cinema as metamedium
Carolina Fernández Castrillo

avant-garde discourse consists in its capacity to project its goals into the future. Futurist reflections about cinema’s role turned out to be essential in the evolution of this medium over many decades. Even today Futurist manifestos act as an important reference for an understanding of the influence of new media and digital technologies in our societies. As Marinetti predicted, this essential confluence of art and technology comes the closest ever to the total artwork. Peter Weibel, one of the most respected experts in media art and digital culture, explains that

in Back to the Futurists
Boccioni – Delaunay, interpretational error or Bergsonian practice?
Delphine Bière

Futurist manifesto), while Delaunay started publishing his own writings on the subject – rather Adamowicz and Storchi, Back to the Furutists.indd 115 01/11/2013 10:58:44 116 Delphine Bière tentatively at that – only at the end of 1912, in Herwarth Walden’s German review Der Sturm. He began to develop his theory on simultanism only in the summer of 1912, and the following year, at the Berlin Autumn Fair, he renamed most of his paintings ‘simultaneous contrasts’, adding for instance a second title to L’ équipe de Cardiff, renaming it: Troisième représentation

in Back to the Futurists
Faïza Guène, Saphia Azzeddine, and Nadia Bouzid, or the birth of a new Maghrebi-French women’s literature
Patrick Saveau

, as if we had been placed under house arrest, prohibited from writing fiction, incapable of being inventive). Far from adhering to a preconceived literary mold, Bouzid imagines two lesbian characters whose thirst for the absolute manifests itself in their admiration for Filippo Tommaso Marinetti’s Futurist Manifesto which glorified risk-taking, recklessness, and violence and called for a literature exalting aggressiveness, audacity and revolt.15 This manifest is then used à la lettre by the two lovers, when they decide to eliminate those who lack distinction as

in Reimagining North African Immigration
Dafydd Jones

, Hugo Ball (1996: 6). Ball had met Pfemfert in 1913 and was a contributor to his periodical. At the same time, the always Futurist-friendly Der Sturm, published in Berlin by former Florentine art student and Germany’s cultural impresario, Herwarth Walden, promoted the work of the Italian artists and writers in the name of the new creative revolution that was at pains to distance itself from German Expressionism, distributing its versions of the Futurist manifestos to a German-speaking audience. It was during the war years, for instance, that poet Johannes R

in Back to the Futurists
The bride stripped bare?
Elza Adamowicz

aesthetic opposition between two avant-garde movements, convergence rather than conflict, aesthetic affinities, continuing exchanges and dialogue rather than oppositions. French critics were interested in Futurist ideas but largely indifferent to Futurist paintings. Cubist pictorial practices impacted on Futurist artists, who adopted and adapted them, formulating in response an innovative theory which stimulated Cubist practice.7 In general, in contrast to Cubist and Futurist manifestos and declarations, which promote radical antagonistic positions, their artistic

in Back to the Futurists
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.