Der Sturm: Center of the avant-garde

March 13 – June 10, 2012
Von der Heydt-Museum, Wuppertal
Catalog (x 2)

In 1912, the Futurist Manifesto was published in Der Sturm, a periodical founded by Herwarth Walden and Alfred Döblin. Soon afterwards (12 April – 31 May 1912) the first Futurist exhibition in Germany was held in Walden’s eponymous gallery at Tiergartenstrasse 34 a. It had previously been on view in Paris at the Galerie Bernheim Jeune (5 – 27 February 1912) and in London at the Sackville Gallery (1 March – 4 April 1912) and showed in Berlin 35 pictures by the Futurists Umberto Boccioni, Carlo Carrà, Luigi Russolo and Gino Severini. This was followed by further Futurist appearances in Walden’s periodical and gallery. (link)

For more information on the relationship between Der Sturm and Futurism, consult John White’s essay “Futurism and German Expressionism” in International Futurism in Arts and Literature, ed. Günter Berghaus, 2000 (Published by de Gruyter).

Included in the 2 catalogs for the show are the essays “Der Strum und der italienische Futurismus” by Irene Chytraeus-Auebach and “Die italienischen Futuristen” by Antje Birthälmer

Interview (in German) with Andrea von Hülsen-Esch, head of the research project

Fortunato Depero
Ricostruire e meccanizzare l’Universo

Edited by Giovanni Lista

ISBN :9788884163349
Publication Date: May 2012
Publisher: Abscondita, Milan (Carte d’Artisti 142)
Price: € 22.00
Other Information: 298 pages
Subject: Painting and Drawing (Monographs)

Fortunato Depero (1892-1960) was among the main protagonists of futurism. The originality of his creative process, and has provided the impetus to the renewal futuristic experiences were the result of a strong personality capable of developing their own poetic and develop it fully. While renewing itself through the various phases of his work, Depero has been able to maintain the coherence of a personal approach that lies between the two poles of mechanical art and advertising. His photo-performance, his paintings of abstract stylization, its decorative and applied art creations, his posters and its famous graphic works for the company’s advertising campaigns have promoted a Campari in Milan productivist-oriented activism to a new quality of life and a new style of social behavior. Gathering all of his theoretical writings, the volume – edited by Giovanni Lista – allows you to trace and analyze the most important stages of a creative journey that has been among the major contributions made by the renewal of Italian Futurism.

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Fortunato Depero (1892-1960) è stato tra i principali protagonisti del futurismo. L’originalitàdel suo percorso creativo e l’impulso che ha fornito alle esperienze del rinnovamentofuturista sono state il frutto di una forte personalità capace di elaborare una propriapoetica e di svilupparla fino in fondo. Pur rinnovandosi attraverso le varie fasi del suo lavoro,Depero ha saputo infatti mantenere la coerenza di un approccio personale che si situatra i due poli dell’arte meccanica e dell’arte pubblicitaria.Le sue foto-performance, le sue tele di stilizzazione astratta, le sue creazioni d’arte decorativa e applicata,i suoi manifesti e le sue celebri opere grafiche per le campagne pubblicitarie della ditta Campari di Milano hanno promosso un attivismo produttivista orientato verso una nuovaqualità della vita e un nuovo stile nel comportamento sociale.Raccogliendo l’insieme dei suoi scritti teorici, il volume – curato da Giovanni Lista – permette di ripercorrere e analizzare le tappe più significative diun itinerario creativo che è stato tra i maggiori contributi formulati dal futurismo per ilrinnovamento dell’arte italiana.

Gino Severini
Title: Danseuse
Description: Painted in 1915.
signed G. Severini (lower right), signed Gino Severini, titled and inscribed 4 on the reverse
Medium: oil on canvas
Year of Work: 1915
Size: Height 39.4 in.; Width 31.9 in. / Height 100 cm.; Width 81 cm.
Misc.: Signed, Inscribed
Sale of Sotheby’s London: Wednesday, June 25, 2008 [Lot 00021]
Impressionist and Modern Art Evening Sale
Estimate: 7,000,000 – 10,000,000 GBP (13,795,821 – 19,708,316 USD)
Sold For:15,049,250 GBP (29,659,538 USD)

Giacomo Balla
Title: LA SCALA DEGLI ADDII (SALUTANDO)
Medium: Oil
Year of Work: 1908-1908
Size: Height 41.5 in.; Width 41.6 in. / Height 105.5 cm.; Width 105.6 cm.
Misc.: Signed
Sale of Sotheby’s New York: Wednesday, May 16, 1990 [Lot 00015]
THE COLLECTION OF LYDIA WINSTON MALBIN
Estimate: 3,000,000 – 4,000,000 USD
Sold For: 4,400,000 USD

Umberto Boccioni
Title: Foot-baller (study)
Medium: watercolor, ink and tempera
Year of Work: 1913
Size: Height 19 in.; Width 23.4 in. / Height 48.2 cm.; Width: 59.4 cm.
Misc.: Signed
Sale of Christie’s Milan: Tuesday, November 27, 2007 [Lot 00313]
Post War and Contemporary Art
Estimate: 800,000 – 1,200,000 EUR (1,169,419 – 1,754,129 USD)
Sold For: 1,866,950 EUR (2,729,060 USD)

Carlo Carrà
Title: AUTUNNO (also RITRATTO DI EMILIO COLOMBO)
Medium: Oil on Canvas
Year of Work: 1909-1909
Size: Height 48 in.; Width 35.4 in. / Height 122 cm.; Width 90 cm.
Misc.: Signed
Sale of Nuova Brera Arte: Tuesday, March 13, 1990 [Lot 00229]
Arte contemporanea per una collezione
Estimate: No Estimate Received
Sold For: 920,000,000 LIRA (729,724 USD)

Luigi Russolo
Title: PROFUMO
Medium: Oil
Year of Work: 1909-1910
Size: Height 26.1 in.; Width 25.2 in. / Height 66.4 cm.; Width 64 cm.
Misc.: Signed
Sale of Sotheby’s New York: Wednesday, May 16, 1990 [Lot 00006]
THE COLLECTION OF LYDIA WINSTON MALBIN
Estimate: 200,000 – 300,000 USD
Sold For: 462,000 USD

Filippo Tommaso Marinetti
Title: Parole in liberta’ futuriste tattili termiche olfattive
Medium: Printmetal book
Year of Work: 1932
Size: Height 9.4 in.; Width 9.4 in. / Height 24 cm.; Width 24 cm.
Edition ed.: Futurista di Poesia, pub.
Sale of Finarte Milan: Tuesday, December 12, 1995 [Lot 00040]
Arte Moderna e Contemporanea
Estimate: 22,000,000 – 26,000,000 LIRA (13,780 – 16,285 USD)
Sold For: 31,050,000 LIRA (19,448 USD)

Giacomo Balla, La giornata dell'operaio (lavorano, mangiano, ritornano) (1904)

Giacomo Balla
A Worker’s Day
1904

Futurist Dinner

May 4, 2012
Osteria della Buona Condotta, Ornago (MI)
€50 all-inclusive
- presented in association with Vini Ribolla di Oslavia

via Il Cittadino

…and a reminder about the blog Cucina Futurista…

ITALIAN FUTURISTS: Concepts and Imaginings

April 26 – June 1, 2012
*Vernissage April 26, 2012 at 6:00pm
NYU Casa Italiana Zerilli-Marimò
Catalog

Thirty six works in various media by Italian futurist artists from the 1st and 2nd wave of futurist art. The exhibit, drawn from the collection of Mr. and Mrs. Stefano Acunto, illustrates the artists’ thinking on energy, color and multimedia possibilities. The group includes Giulio D’Anna, Pippo Rizzo, Gerardo Dottori, Alberto Bragaglia, Roberto Crippa, Giacomo Balla, and Lucio Venna.

Exhibit sponsored by the Italian Academy Foundation, Inc. founded 1947.

Watch this video by i-italy of Stefano Acunto speak about Futurism:

Review via Huffington Post

Arcadia in Celle: the Maeght Foundation presents the Gori collection

March 31 – June 10, 2012
Maeght Foundation
Saint-Paul de Vence, France

Itis exceptional for works of art from Gori’s modern and contemporary collection to leave their home in Celle to spend time in the Fondation Maeght. Among the historical works, the collection’s Great Masters of XXth century art are displayed in the « salle de la Mairie » next to those of the Maeght Foundation. These marvellous works include two oils on canvas by Giacomo Balla, a gouache by Umberto Boccioni entitled Rittratto della madre (1908), a futurist work Bar San Marco (1914) by Ottone Rosai and a work from the same period by Ardengo Soffici, a stabile-mobile by Alexander Calder, a painting by Joan Miró Femme, Oiseau, Etoiles and surrealist works from the 1920’s and 30’s by Giorgio De Chirico, René Magritte and Alberto Savinio.

The Avant-Garde Applied (1890-1950)

March 30 – July 1, 2012
Fundación Juan March, Madrid
Catalog

Before modern aesthetics appeared at the end of the eighteenth century and with them the so-called autonomy of the fine arts, all art was originally “design”, that is to say “applied arts”, or art “applied” to a function. Historically, the arts have been applied to the most diverse religious, political and social functions, from the cult and celebration of religion to the representation of power or wealth, decoration and leisure. Later, certain movements that arose between the late nineteenth and early twentieth centuries such as the Vienna Secession or the Arts and Crafts movement and, above all, the historical Avant-Gardes —from Futurism to the Bauhaus through Neoplasticism or Constructivism— implied not only an accentuation of the modern autonomy of art but a generalized and radical intent to once again take art into all spheres of life, to transform and configure it based on the ideals of the new. The Avant-Garde returned art’s transformative power to the political and social sectors, to the domestic world of function and decoration, and to the texts of books, magazines and posters as vehicles for the dissemination of ideas, which art had never fully left, but from which the aesthetics and poetics of pure art, the aestheticism and the ideal of l’art pour l’art, had distanced it.

The exhibition The Applied Avant-Garde (1890-1950), displaying more than 700 works–among them original designs, maquettes, preparatory studies and photomontages, posters, books, magazines, postcards, brochures–will reveal the arresting and fascinating visual history of the impact of Avant-Garde ideals in the areas of graphic design and specially typography, from its antecedents in the last decade of the nineteenth century through the first half of the twentieth. The results were manifested —almost simultaneously in a geographical setting as vast as it was interconnected— in such diverse sectors as political and ideological propaganda, advertising and mass media, architecture, urban and interior design, exhibitions, theater, film and photography, among others.

The exhibition, accompanied by a fully illustrated catalogue in both English and Spanish editions, will include the work of more than 100 artists from more than twenty countries: a long list of Avant-Garde artists, typographers and designers, pioneering artists of graphic design such as Max Bill (1908-1994), Fortunato Depero (1892-1960), Oskar Kokoschka (1886-1980), El Lissitzky (1890-1941), Filippo Tommaso Marinetti (1876-1944), Lászlò Moholy-Nagy (1895-1946), Liubov Popova (1889-1924), Aleksandr Rodchenko (1891-1956), Kurt Schwitters (1887-1948), Jan Tschichold (1902-1974) and Theo Van Doesburg (1883-1931), among many others. The featured works come from two important international private collections whose quality and breadth make them worthy of a museum: that of the american Merrill C. Berman, New York, and José María Lafuente from Santander, Spain.

The selection of the works on exhibition, which span more than a half century, is based not only on historical criteria but on the transformative conceptual and thematic approaches of the Avant-Garde and turns on dual axes: the rendering of images and words in Avant-Garde graphic design and in the typographic revolution that this imposed on the field.

Pagina tratta dall’Album Depero, 1912 (dettaglio). Archivio Touring Club Italiano

DEPERO 1912. Il Touring Club Italiano tra futurismo e irredentismo

March 30 – September 2, 2012
Mart, Casa D’Arte Futurista Depero
Curated by Nicoletta Boschiero

A previoisly unseen album of drawings by Depero found by chance by the Touring Club after a century. This provides the starting point for an exploration of the young, pre-Futurist Depero.

Un triplice evviva!!!

February 24 – April 1, 2012
Mart, Casa D’Arte Futurista Depero
Curated by Cristina Collu and Marina Mojana

Camparisoda celebrates 80 years with an exhibition at Mart with work by Fortunato Depero, creator in 1932 of the Campari bottle. Original graphics were created in 1931 for the “Numero Unico Futurista Campari.”

March 16-April 7, 2012
The Bushwick Starr, Brooklyn NY
Presented by Target Margin Theater & The Bushwick Starr

The Bushwick Starr presents Target Margin’s annual laboratory on the Russian avant-garde. Exploring artists including Mayakovsky, Meyerhold, and Kharms, these 12 productions will run in repertory for four weeks covering everything from Zaum poetry to chamber opera to a puppet re-enactment of the October Revolution.