Balla/Ambron: Gli Anni Venti tra Roma e Cotorniano

December 16, 2011 – March 18, 2012
Fondazione Raccolta Lercaro, Bologna
Curated by Andrea Dall’Asta S.I., Filippo Bacci di Capaci, Elena Gigli

In Bologna, the Gallery of Modern Art and the Foundation Lercaro Collection will present from December 16 to March 18, 2012 the exhibition Balla/Ambron – The Twenties between Rome and Cotorniano, which was the setting for the years of friendship that bound the Futurist artist Giacomo Balla and Emilio Ambron, the collector and patron. Ambron hosted several times the futurist artist in his summer residence near Siena and also in his home in Rome for three years, from 1926 to 1929, when he was in financial difficulties. The friendly relationship between the two families even prompted Balla to teach Ambron’s wife painting. Uniquely, this exhibition presents the many postcards illustrated with watercolors – original works of mail art – which Balla sent to the collector for years.

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A Bologna, la Galleria d’Arte Moderna e la Fondazione “Raccolta Lercaro” presentano dal 16 dicembre al 18 marzo 2012 la mostra Balla/Ambron – Gli Anni Venti tra Roma e Cotorniano in cui sono evocati gli anni dell’amicizia che legò l’artista futurista al collezionista e mecenate Emilio Ambron. Quest’ultimo accolse più volte l’artista futurista nella sua residenza estiva nei pressi di Siena, ospitandolo inoltre per tre anni, dal 1926 al 1929, nella sua casa romana quando si trovò in difficoltà finanziarie. Il rapporto d’amicizia coinvolse anche le due famiglie fino a spingere Balla a insegnare la pittura alla moglie del collezionista. La mostra presenta in particolare le numerose cartoline scritte all’acquerello, autentiche opere di “arte postale”, che Balla inviò per anni al collezionista.

EMMA (Espoo Museum of Modern Art), Helsinki
March 2 – June 10, 2012
Curated by Giancarlo Carpi and Marco Ancora

…The new exhibition at EMMA continues the museum’s series on the phenomena of Modernism. The fascination with machines and speed, like Futurism in general, is very masculine, so out of the 51 artists represented, only three are women. Covering the whole lifecycle of Futurism, the exhibition displays paintings, sculptures, sketches, architectural designs, objets and furniture. Futurism never differentiated between abstract and representational art, what was important in these powerful colourful works was movement. The most popular motifs were machines, cars and aeroplanes, but they were also populated by people and animals.

The French magazine Ligeia, dossiers sur l’art, has published a special file on “Futurisme, Dada, Communisme” concerning the orientation of the avant-garde, such as Italian Futurism, in the field of political ideology.

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La rivista francese Ligeia, dossiers sur l’art ha pubblicato un dossier intitolato “Futurisme, Dada, Communisme” sull’orientamento delle avanguardie, in particolare del futurismo italiano, nel campo dell’ideologia politica.

November 19, 2011-February 26, 2012
Casa d’Arte Futurista Depero (Rovereto)
Curated by Renato Barilli

February 7-April 30, 2014
Guggenheim Museum, New York

May 26-September 14, 2014
Guggenheim Museum Bilbao

BOOK PRESENTATION

The 2011 international conference “Our Digital Renaissance – Cultural Development, Artistic Creation & Economic Growth” will open with a book launch of the 2009 conference proceedings

Futurismo – Impact and Legacy

Thursday, November 10, 2011
Sala Rosa, Florence University of the Arts

As our historical knowledge of Futurism, its texts and personalities increases, we are now able to examine the original documents of the time in perspective. We then realize that we cannot speak of one futurism anymore, but that we must speak of many futurisms: any simplification of the
movement would not do justice to the cultural complexity of those years.

The eclectic essays collected in this volume represent a testament to how far Futurism has arrived in time, space and in the imagination. In the diversity of their arguments, the works here included exemplify the different perspectives that can be taken towards the subject, well aware that, far from essentializing Futurism, we need to move towards complicating our understanding of the movement.

Please RSVP if you are interested to participate in the events as per the program and invitation hereby attached.

Please answer by Wednesday, 9 November calling 055-0332424 or sending an email to info@squolafirenze.it

INVITO DR e Futurismo

PROGRAMMA Digital Renaissance

September 29, 2011 – January 15, 2012
Museo del Novecento, Milan
Curated by Vicente Todolì and Italo Rota

Serrada Futurista

August 8 – 21, 2011
Serrada di Folgaria (TN)

Third installment of ‘Serrada Futurista’ – a celebration of Futurism in Folgaria.

Program

2nd installment (2010)

Una settimana di cultura, musica, teatro ed enogastronomia all’insegna del connubio tra movimento Futurista e lavorazione della pietra. E’ ‘Serrada Futurista’, alla terza edizione nell’omonima frazione di Folgaria, che riservera’ un’attenzione particolare al porfido. La manifestazione, nata in occasione del centenario della nascita del Futurismo, trova collocazione in uno dei luoghi che Fortunato Depero aveva eletto per le proprie vacanze e si terra’ dall’8 al 21 agosto.

FU.MO – Futurismo Morcianese

Morciano (RI)
July 29 – 31, 2011

more info

PDF 2011 program

Celebration in 2010

Anfang gut. Alles gut.
Actualizations of the futurist opera Victory Over the Sun (1913)

July 16 – October 16, 2011
Kunsthaus Bregenz Arena
Catalog

The Futurist opera Victory over the Sun, which received its premiere at the Lunapark Theater in St. Petersburg in 1913, attempted to “create a collective work based on language, painting, and music.” Its authors – the poets Velimir Khlebnikov and Aleksei Kruchenykh, the composer and painter Michail Matjuschin, and the painter Kazimir Malevich – wished to construct an “anti-harmonious” work against the current of their time. This was in Czarist Russia in the years between industrial modernization and peasant ser fdom and after the attempted revolution of 1905. While in their enthusiasm for technology the Italian Futurists had already glorified machinery before World War I and brought it to bear against people, Russian Futurism took off from an idea of the future that seemed possible only by fundamentally deconstructing the as yet scarcely industrialized present.

Anfang gut. Alles gut. is the long-term project of an evergrowing group of currently forty international artists, musicians, architects, and writers who are picking up the threads of the past and actualizing them. Since 2008 those involved have drawn on the historical text and documentations of its performances as well as the opera’s reception history to develop formats translating the almost 100- year-old material in contemporary forms into the present. To begin with, the producers selected individual aspects of the opera, such as characters, costumes, stage set, text, music, or lighting and made them the starting point for their own artistic explorations.

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