FUTUROMA schedule of events

20 FEBRUARY – 16 MAY 2009
Celebrations for the Centenary of the First Futurist Manifesto

Department of Cultural Policy
and Communications

Scuderie del Quirinale present
An exhibit by Didier Ottinger.
Commissioner for Italy: Ester Coen
Quirinal Stables, Rome

  • Officially opened to the public on 20 February at 10:00 am
  • Only on the day of the official opening, the exhibit will remain open until 1:00 am in the morning
  • On February 20th, one hundred years after the publication of other gripping, stupefying Manifesto of Futurismo by Filippo Tommaso Marinetti, the exhibit “Future. Avant-garde / Avant-gardes” opens to the public.

Organized in collaboration with the Centre Georges Pompidou of Paris and the Tate Modern of London, the exhibit highlights the leading role of Futurism in the complex lexicon of artistic expression of the early avant-gardes. Clear evidence of the working relationship established between the three prestigious institutions is the fact that each has molded the shared initial project to fit its own outlook, in keeping with the underlying idea of renewal and striving towards the future to which Futurism gave form.

In the specific case of the Rome exhibit, though the outline of the initial French project, a tribute to the renowned futurist exhibit of 1912 at the Bernheim-Jeune in Paris, is preserved, the focus has shifted to the extraordinary array of corresponding and opposing elements, of analogies and contrasts, of affinities and dissonant notes which, at the start of the last century, characterized what still appears as one of the most interesting and far-reaching discussions of modernity. In an exhibit layout rendered exceptional by the rarity of the works on loan from leading museums and international collections, the most important masterpieces of Futurism shall be displayed, together with key works of the great masters of the twentieth century, such as Boccioni, Carrà, Severini, Balla, Picasso, Duchamp, Braque, Leger, the Delaunays, Larionov, Gontcharova, Kupka, Russolo Villon, Del Marle, Nevinson, Epstein, Gleizes, Popova, Soffici, Malevitch, Exter, Gontcharova, Klioune, Lewis, Bomberg, Picabia, Metzinger, Macdonald-Wright…

The structure of the Quirinal Stables exhibit, for the first time ever, illustrates the parallel course of the stylistic and philosophical influences of Futurism and Cubism as they coalesced to generate Russian Cubo-Futurism, English Vortexism and American Synchronism, emphasizing the fundamental contribution of the Italian avant-garde, in the form of Martinetti’s striking conceptual leap of a new synthesis between space and time. The Futurist Movement, renowned for its core ideas, has continued to exert the primitive thrust capable of attracting and seducing entire contemporary generations, thanks to the vital impulse filtered through seductive, multicolored vision that burst into so many fragments at the touch of a force of propagation that never dies.

Artache presents
Brian Eno for Futurist Rome

Friday 20 February, 8:00 pm
Palazzo Ruspoli – Memmo Foundation, Via del Corso 418

If the futurists were looking to create an emotional setting, steering clear of the tomb into which abstraction had pushed academic music, Eno was the first to conceive of music for unconventional spaces, “immerging” the listener in a specific setting while maintaining a close tie between the mind, the body and the instruments offered by the technical sphere.

There is almost no trace of Futurism left in today’s music, but its energy is alive and fully operative. Since then, its magnetic attraction has drawn all varieties of music. The step taken by Luigi Russolo tore down the boundaries between sound and noise, changing relations with the reality of music while immersing us, for all intents and purposes, in the Lengthy Now that is our day and age. Since then, the materials of music have constantly been treated as “objects” to be put back together as units, as manifestations of nature and culture drawn not only from tradition but from the power of digital technologies as well. The confusion between man and the machine, prophesized by the Futurists, has led to a confusion between tradition and digital technology. Simultaneity, movement and speed – cherished concept for the Futurists – today constitute objective that, at least in part, have been achieved. Which is not to say that their inherent ambiguity is no longer with us: what belongs to the past and what, on the other hand, can be expected to occur in the future? Which object moves and which remains motionless? And, most importantly, with respect to what? In Presentism, Eno takes a critical look at the future of Futurism, challenging the categories of consciousness: of history and science. He demonstrates the relativity of space and time in the universe of sound that surrounds us, posing a question on the sense of the present, between space and time.

Presentism appears as more than just an installation of sounds and visions, presenting all the radical potential of a system of thought. By cross-fertilizing and breaking down the bands of light that flash across the global experience of man, Presentism gives every sign of representing the fulfillment of the Futurist prophecies. And thus the other side of the Avant-gardes.


An exhibit organised by Achille Bonito Oliva
Arrangement of the works by Vincenzo Capalbo
Official opening on Friday 20 February at 6:00 pm
Macro Future, Piazza Orazio Giustiniani 4 – Testaccio

We shall sing of the locomotives with their barrel chests, of the airplanes slipping through the sky. It is from Italy that we today launch this manifesto of overwhelming, incendiary violence and found Futurism

There is no questioning the fact that artists such as Boccioni, Balla, Depero, Severini have taken on the status of leading figures in the history of the art of those years, alongside countless other great names, from Picasso from Schiwitters, but the Manifestos of Marinetti,  together with those he urged others to write in the various creative disciplines – bringing into play sectors such as fashion or cuisine, in a quest to bring into being a dynamic, revolutionary style of life valid for every facet of existence – represents an unprecedented moment in history, with an innovative force that allows of no comparison to other periods.

Between 1910 and 1914 a number of key writings see the light. The proclamations of Marinetti and his fellow Futurists are turned out with ever increasing intensity, until their floodtide of linguistic verve and polemic sting has washed over every aspect of day-to-day existence and every form of artistic expression: from novels to the theatre, from poetry to dance, from photography to architecture, from film to fashion, from radio to design, from politics to the concepts of women and love, ultimately arriving at a document drawn up by the duo of Balla and Depero, in the extremist form of a proposal for a Futurist Reconstruction of the Universe. The event “Futurismo Manifesto 100×100” serves as an opportunity to focus explicit attention on the Futurist Manifesto as a tool with an explosive impact on the media and in all the various fields of creation, unique in terms of its pared down contents and noteworthy theoretical effect, but easily repeatable, by its very nature, as a model for a host of different creative movements.

The manifestos are exhibited in a highly effective modular set-up supported by the use of the latest technology, which serves the highlight the direct, forceful nature of these historic documents. Visitors, surrounded by highly effective, intriguing projects, will have the sensation of being “in the middle of the Manifesto”, in what amounts to a full immersion of sight and sound. Accompanying the exhibit of the original manifestos will be filmed pieces specially created to establish a dynamic collage of memorable phrases taken from the manifestos and audio segment consisting of period recordings, as well as background noise and sounds. Particular attention shall be placed on the wording of the Futurist communications, together with the subversive approach they took to traditional language and syntax.

The Micro Cultural Association presents
From Piazza Giustiniani at 6:30 pm, in a live hook-up with the newsroom of “Le Figaro”, for a joint celebration of the Centenary of the Manifesto, which appeared on the front page of the Parisian newspaper on 20 February 1909.

Interart presents

Scripted portions written by Gioia Costa
Technical and set-design assistance by Paolo Calafiore 20 February, from 9:15 pm to dawn
Piazza del Popolo: Waves of Light 1909-2009
Piazza Venezia: Laboratory for Training Light

Drawing on his experience with the technology used in the theatre, director Giancarlo Cauteruccio has conceived of a project involving the architecture of light for the Centenary of the Futurist Manifesto. The work, created at the request of the Department of Culture of the City of Rome, will consist of a complex system of lasers that, guided by notions tied to the idea of dynamic space and speed, make for show that thrills and involves the viewer. For the night of the performance Piazza Venezia and Piazza del Popolo will be connected by the light, becoming the two ends of an  iridescent, dynamic theatre.

In a revisiting of the Futurist proposal, which removed the actor from the theatre, transforming the observer-spectator into the key figure of the event, Piazza Venezia is turned into a “Laboratory for the Training of Light”, set to a soundtrack of the actual sounds and noises of the Piazza. The director, Mr. Cauteruccio, has invented a dynamic of light able to overlap the exiting elements of the space, generating a fast-moving geometry which transposes the bold leaps made by the Futurists a hundred years into a concrete display, by means of a 11 digitally controlled laser systems.

In the same way, Via del Corso is transformed into the central axis of movement through an artful radiation of light that traces the dynamic framework to which other events are connected (Brian Eno’s video-sound installation entitled “Presentism” at the Palazzo Ruspoli, the “Simultaneous Visions” show by Marco Solari and Alessandra Vanzi in Piazza San Lorenzo in Lucina, the “Extreme Painting” by Del Sorbo on the façade of the building housing the office of the daily paper “il Tempo”, or the “Women, Speed, Danger” work by Edoardo Sylos Labini in the Galleria Colonna), leading all the way to the Piazza del Popolo.

Here the light becomes an instrument of writing, as director Giancarlo Cauteruccio, drawing his inspiration from the totally abstract set design created by Giacomo Balla for Stravinsky’s Feu d’Artifice – presented during a tour of Russia dance by Diaghilev in a single performance on the evening of 12 April 1917 at the Costanzi Theatre in Rome, has taken up and reinterpreted the lighting score, which consisted of 50 movements that, in the words of Margherita Sarfatti, brought forth a ballet of «waves of light and sound». For this performance, the rhythmic juxtaposition of the lights will be supported by the contribution of playwright Gioia Costa, who has create a mix of materials from historic archives – recordings of Filippo Tommaso Marinetti, as well as musical arrangements by Luigi Russolo – and recordings from the second half of the 20th century – featuring figures such as Carmelo Bene, Vittorio Gassman, Franca Nuti and Paolo Poli (until such time as releases can be obtained from the holders of the rights to use the materials) – pieces further enriched by a contemporary reinterpretation of the writing, created specifically for the voices of two exceptional performers:  soprano Monica Benvenuti and absurdist vocalist David Barittoni.

Friday 20 February – 9:15 pm and 11:15 pm, Piazza San Lorenzo in Lucina
project and direction ALESSANDRA VANZI and MARCO SOLARI
selection of texts by Futurist authors ALESSANDRA VANZI and PATRIZIA BETTINI fire sculptures PAOLO BUGGIANI
soundtrack PAOLO MODUGNO
light design LUCA STORARI
director of percussion MAURO D’ALESSANDRO
director of choreography SILVANA BARBARINI
artistic assistant PETER QUELL
sound technician PAOLO MODUGNO
Set-design assistants CAROLINA FOTI and ONDINA SANTIN, in collaboration with the CENTRO TEATRO ATENEO
and with the IED – European Institute of Design
Course in theatrical set design by Oscar Netto and Marco Solari

SIMULTANEOUS VISIONS is a tribute to the Futurist spirit that draws on the performances of a full roster of artists from artists from the theatre, dance, music, video and the visual arts, with the participation of young students.

The 45-minute show is based on energy, simultaneity and surprise, using the space of Piazza san Lorenzo in Lucina to create what amounts to a machine for the production of words, gestures, sounds and colours. The stage set features seven actors busy at their typewriters. From time to time they break off their typing to recite excerpts from Futurist authors. Meanwhile segments of dancing and choreographed movements take over the Piazza before moving onto the stage. A group of youthful percussionists expresses itself with sound objects. The piazza is decked out in the lights, phrases, shadows and colours that irradiate from the stage.

SIMULTANEOUS VISIONS is a composition that brings together the different points of view of the artists involved in the project on the immense and varied Futurist experience. SIMULTANEOUS VISIONS is neither a hearkening back to the past or a stage production, but a tribute to the great sense of freedom, play and inventiveness that Futurism succeeded in transmitting.
The ZTL Association presents
20 February, 22:15 pm and 23:30 pm – 21 February, 22:15 the Alberto Sordi Gallery (former Galleria Colonna, Via del Corso)
by Francesco Sala, Viola Pornaro and Edoardo Sylos Labini
with Edoardo Sylos Labini, Federica di Martino, Raffaela Siniscalchi, Francesco Maria Cordella, dj Antonello Aprea and Aldo the dog.
directed by Francesco Sala and Viola Pornaro.

Women, Speed, Danger is a simultaneous, humoristic, bold portrait of the Futurist Man during his locomotive-driven  travels in the early 1900’s. We peek inside a train compartment, where we find a declaimer of bizarre words, patriotic Italian sensations and unruly outbursts: he is the Italian Futurist of the year 1909. In his eyes, everything is performance, publicity, innovation. The train runs along the tracks, at a fast clip, as different travellers appear, as of they were the variations of a play on a stage.

Edoardo Sylos Labini will leave everyone enraptured by this whirlwind of epoch force, played out against the periodic musical raids of a dj.

Performance by Giuliano del Sorbo
Piazza Colonna, façade of the Palazzo Wedekind (headquarters of the daily newspaper “Il Tempo”) 22:00 – 22:20 pm

The group has borrowed the Alpine mountain techniques used to create large canvases in the course of special event. The performance is called “extreme” because is painted while the audience looks on, without the artist having the chance for second thoughts or corrections of mistakes. The large-size canvas, reaching a height of several metres, give a large number of participants the chance to experience the creation of the work of art, without the need for intermediaries an d with a noteworthy level of involvement, as they oversee the growth of the signs on the canvas, right up to the final creation of the work. The brushstrokes of the painter and the movements of his staff, who shift the artist to different spots on the large canvas, translate into incisive, expressive signs that do not become fully comprehensible until the work is completed. The painter is supported and positioned by 4 assistants, using a set of rope and pulleys, as well as all the precautions needed to avoid any safety risk to the artist or the technical staff. The high-wire aspect of the performance,  which stupefies at the start, is gradually pushed into the background by the interest in the development of the work and the expectation to see the final result. Each performance is unique and unrepeatable, two favourite traits of the Futurists. Giuliano Del Sorbo was born in Aylesbury (England) in 1961. In 2007 he held a one-man show at the Rocca Malatestiana castle in Fano, exhibiting more than a hundred works (from 1993 to 2007). In the same year of 2007 he gave live-painting performances at the Villa Verde in Pesaro, at the Rocca Costanza castle in Pesaro and, also in Pesaro, in the city’s Piazza del Popolo for the “Rainbow Night”. Since 1991, he has been the creative force behind the Human Wave Live Exhibition, a painting work involving live improvisation and carried out in the company of various artists (musicians, actors, dancers, performers etc).

The Arion and Antiquaria Philobiblon Bookstores present
An exposition of antique Futurist volumes
Official opening 20 February at 5:00 pm – through 20 March Montecitorio Bookstore, Piazza Montecitorio 59

V-Minds sagi presents
An interactive performance-installation –video work that utilises artificial intelligence
From Friday 20 February to 16 May in 10 spaces in the Italian Capital Concept,  scripting and direction: Lorenzo Pizzanelli Progetto Tecnico: V-Minds

Filippo Tommaso Marinetti, brought back to life in the form of an animated graphic design, appears in a video with X dimensions, ready and willing to converse with everyone in real time. The voice synthesised by the computer reproduces the character of the leader of the Futurist movement as he takes questions from the audience.

The model of Filippo Tommaso Marinetti will be equipped with an artificial-intelligence function that allows him to dialogue with others and express emotions in keeping with the topic.

Web version: By using the site www.marinettiallaquarta.it and a keyboard, the public enjoys an extraordinary range of freedom in terms of posing questions and engaging in conversations with Marinetti, who always brings the subject back to his personal story and outlook on Futurism.

Multimedia Totem Version (Touch Screen): On the screen is the Marinetti character shown from the waist up, while roughly 20 “unrestricted” words are in motion on the right side, waiting for a visitor to touch one and set off the audio-video response of the Marinetti character.
Robot-Sculpture Version: The sculpture is made of steel cones, stands roughly two metres tall and is equipped with three videos (one at the head, one on the stomach and one on the back) that answer questions receive from visitors through a microphone.

The Ugo Bordoni Foundation presents
A project by Andrea Paoloni and Giordano Bruno Guerri
From Friday 20 February 16 May in 7 spaces in the Italian Capital

The proposed by the “FUTURTAL” project is a software application that can be operated on any computer. The SW is capable of providing audio-video information on futurism (essentially through filmed pieces), in response to vocal queries. For example, if a request is made for a poem by Govoni, or regarding the life of Bragaglia, or on a painting by Depero, then, for the different questions, a painting by Depero will be shown (with information such as the years and place of creation etc.), or a poem by Govoni will be read (by an  “avatar” that appears on the screen, while other images of Govoni are shown as well), or a biographical profile of Bragaglia will be read and presented in writing (accompanied by images and sounds). The SW consists of a system for synthesising the voice and the image (avatar) that respond to the questions. The hypertexts will contain the text to be used in giving the responses. The SW will be installed on a certain number of “totems” (meaning sealed data processors that can be placed in public sites and consulted by residents of Rome.

The Cultural Association teatron.org presents
A communication environment consisting of an interactive publication at Hadrian’s Temple (Piazza di Pietra).
A project by Carlo Infante
20 February 07:00 pm – 12:30 am and then on the web

The communications point, set up inside Hadrian’s Temple, thanks to the collaboration with Promoroma (a special agency of the Rome Chamber of Commerce), is meant to serve as a site for “resting and gathering sensations” in the course of the Futurist Evening, providing geo-referenced information on the event, together with experiences of virtual immersion that establish the link between the history of Futurism and the future of digital technology.

A central video projection will illustrate the geoblog ( www.geoblog.it/futur), which can be used to locate major sites from the Futurist past in Rome, as well as the events of the Futurist Evening, all monitored by the performing media multiple taskforce, which will also be available on facebook, youtube and flickr. The geoblog can be used to follow the action of the performing media, operated by “open-source” performers Salvatore Iaconesi and Oriana Persico, which will trace what amounts to an intangible logo (a large “F”, as in “Futurism” and “Future”) by applying a GPS tracker to a satellite map of Rome, based on the poetic situationists and the GPS drawing.

An immersive environment, created and managed by Paolo Valente, shall introduce Second Life meta-verse situations, offering the experience of virtual worlds in Uqbar, through the activation of a context inspired by Futurism. The entire space shall be defined by the digital architecture of Luca Ruzza and Bruno Capezzuoli/pixel Orchestra, transforming the ancient Hadrian’s Temple into an interactive environment filled with vee-jing and interactive design features (using bluetooth, mobtag, etc) that encourage guests to make wi-fi connections to the geoblogging and social networking platforms.

But first, two “Futurist Eve” events not to be missed on February 19th
An unfettered Futurist evening between Vicolo della Reginella and Piazza Mattei on February 19th, from 6:00 to late into the night
Based on an  idea by Giuseppe Casetti

In celebration of the centenary of the first Futurist Manifesto, the Bookstore-Gallery of the Louvre propose a Futurist evening in Piazza Mattei and Via della Reginella, from 6:00 pm till late into the night, featuring a Futurist map and atlas, an Anti-Pastist space, anti-crisis coveralls and collector’s capsule, Futurist rips and plexi-synthetic theatres, not to mention high-speed blasts of aerial words, physical scores for stilts and dance and a trans-Dadaist express, which is actually a concert by Alvin Curran.

The “Gruppo” Theatrical Company, led by Edoardo Torricella, presents
A Futurist happening on the edge of town
19 February at 9:00 pm, the screening room of Rome’s “Delle Torri” (TBM) Municipal District Office, 20 February from 11:00 am to 1:30 pm, the TBM District Council Hall

The showing of a documentary entitled “Futurist Theatre”, with the participation of Mario Verdone, plus a video filmed in the neighbourhood on the occasion of an encounter with Luce Marinetti (daughter of the founder of Futurism). Finally, the showing of a video on a Futurist performance, “A Bizarre Evening”, produced by the Torre Spaccata Company in 1987.

And Futuroma …continues

The Carlo Erba Archives present
A previously unpublished document
Saturday 21 February, 7:00 pm – Sunday 22 February, 11:30 am Palazzo delle Esposizioni, Film Screening Room, Via Milano 9/a
Based on a project by Marco Rossi Lecce, in collaboration with Enrico Crispolti. Texts ad historical materials selected by Francesca Franco. Directed by Maurizio Carrassi
Artistic Director: Fabio Solimini

The video, film in 8 mm black and white VHS way back in 1980, proposes exclusive interviews with celebrated figures and others who witnessed Futurism, all of whom have since passed away.

The purpose of the film was to reconstruct the different key episodes in the life of the painter Carlo Erba, together with the history of the famous Lombardy Battalion of Cyclists and Automobile Drivers (VCA), a unit almost completely unknown at the time. In 1915, the Milanese Futurists Marinetti, Umberto Boccioni, Mario Sironi, Antonio Sant’Elia, Luigi Russolo, Carlo Erba and Ugo Piatti enlisted as volunteers in the eighth platoon of the Battalion and went off to war. Also part of the unit, though not the Futurist movement, were the painter Anselmo Bucci, the critic and journalist Mario Buggelli and other intellectuals.

While the project was underway, its scope expanded to included other topics presented through the reminiscences of individuals who could make an original contribution to reconstructing the events and culture of those years.

The Duale Ensemble presents
with Sara Davidovics and Lorenzo Durante
Cineteatro, via Valsolda 177, Saturday 21 February, 9:00 pm

A vocal performance that reviews that full span of the Italian avant-garde, from the Paris Manifesto to the end of the Republic of Salò.

The “Teatro di Documenti” Association presents
An abbreviated drama by Maria Adelaide Ceraolo Futuristically based on the work of Alexander Dumas the younger
18 – 22 February, Teatro di Documenti, Via Zabaglia 42 – Testaccio, directed by Gaston Troiano

A performance presented in honour of Futurism and inspired by the concepts of the synthetic, anti-bourgeois theatre of surprise.

The “Casa delle Letterature” and “Arcipelago Italia” present
Organised by Arnaldo Colasanti, Massimo Cinque and Maria Ida Gaeta, 26 January, 24 February, 30 March and 14 April 2009 at the Auditorium, Studio Theatre, 9:00 pm

Monday 26 January 2009
The Collector

A bibliophile discusses some of the best Italian books of the early 20th century, by and with Giampiero Mughini

Friday 30 March 2009
The New, the Old and the Modern: three periods that can live in peace?
with Walter Pedullà, Mario Perniola and Giampaolo Rossi

Tuesday 14 April 2009
The Obsession with Dynamism: provocation or positive model?
with Gianluca Nicoletti, Ezio Godoli and Jeffrey Schnapp

Tuesday 3 April 2009
Modernity and Action: sound, space and time in the Futurist idea
with Elio Matassi, Luciano Lanna and Giacomo Marramao

The National Pro-Italian Association of Egypt (ANPIE) presents
A Day of Studies
Saturday 21 March, the Dioscuri Theatre – Via Piacenza 1
Conference: 10:00 am – 1:00 pm and 3:00 pm  – 6:00 pm
From 7:30 pm on, readings and music inspired by Filippo Tommaso Marinetti
Coordinated by Francesco Greco and Sara Cipollone
With the participation of, among others, Armando Gnisci, Isabella Camera d’Afflitto, Ibrahim Farouq, Rabbie Salama and Mohed Saad.

The Villa Torlonia Museums present
Official opening on 25 February, through 24 May
Casino dei Principi, entry on the Via Nomentana, at the corner with the Via Torlonia

The exhibit brings together more than a hundred advertising that appeared between 1920 and 1940, when they represented one of the most stimulating fields of exploration and experimentation, not only because work done by Italian graphic artists, but also on account of the contributions of major artists of the early 20th century, such as Adolfo Wild and Duilio Cambellotti, plus the Futurists Balla, Depero, Prampolini, Mario Sironi and Lucio Fontana. The surprising graphic combinations and choices of lettering, along with the unusual colour combinations of some of the leading Italian illustrators, such as Leonetto Cappiello, Marcello Dudovich and Gino Boccasile, are accompanied by a rich stock of documentation, including sketches, reviews and illustrated books.

5 nights of jazz inspired by Futurist music and culture, AlexanderPlatz JazzClub, Via Ostia 9, Rome (Ottaviano Subway Stop)
23 to 27 February

Numerous figures tied to Futurist music and culture will make their contributions every evening, under the supervision of Marcello Rosa, who will also perform with his group, renamed the “Noise Makers” for the occasion. Improvised jam sessions, with both Italian and international musicians taking part.

“Giubberosse Firenze” and Open Colonna present

Antonello Colonna’s Open Colonna Restaurant at no. 9 Via Milano, 3 March, 9:00 pm

(multi-beverage – aperitifs)
DECISION Marinetti’s recipe
INVENTION Marinetti’s recipe
ALCOHOL CAROUSEL Prampolini’s recipe
MOUTH BURNER recipe by Mr. Barosi, engineer (with the eyes)

STRAWBERRY NIPPLE recipe by Mr. Barosi, engineer (with the eyes)
HUNGER STOPPER Giachino’s recipe
SIGHT DESIRE Marinetti’s recipe (with the eyes)
WAR IN BED Marinetti’s recipe (with the eyes)
LOOK HOW I’LL LOVE YOU Fillìa’s recipe
BETWEEN THE TWO Fillìa’s recipe
GETTING DIRTY Saladin’s recipe (with the eyes)

MEATY PORTRAIT OF OUR FRIEND BRUNO Marinetti’s recipe (with the eyes)
MEATY PORTRAIT OF A LOVELY NAKED LADY Marinetti’s recipe (with the eyes)
FIRST NIGHT’S SOUP Marinetti’s recipe

HOT PORK Fillìa’ recipe (with the eyes)
GOLDEN MEAT Fillìa’ recipe
JOINT PENETRATION Giachino’s recipe
ULTRA-VIRILE Saladin’s recipe (with the eyes)
MIDNIGHT MAN  WOMAN Saladin’s recipe (with the eyes)
(side dishes)
DIVORCED EGGS Giachino’s recipe
GREEN RICE Giachino’s recipe
(cheeses and desserts)
WHITE DESIRE Fillìa’s recipe
SUPER PASSION Fillìa’s recipe
LIKE A CLOUD Onesti’s recipe
MOONLIT DATES Sirocofran’s recipe


The “Vittorie” Club presents
THE “CIRCOLO” (“CLUB”) Via del Traforo, 146 – Rome 25 February, 6:30 pm
With Marco Ancora, Antonio Fugazzotto, Stefania Quattrone and Giordano Bruno Guerri Ospite: the Marinetti Wing
Futurist readings: Paolo De Giorgio

The Italian Air Force presents
Monday 30 March, “F. Baracca” Military Airport, Via di Centocelle 301, through 5 April

Celebration of a century of flying, dating from Wilbur Wright’s 1909 flight at the very same Centocelle Airport, as part of the 86th anniversary of the founding of the Italian Air Force. Organisation in one of the Base’s hangars of an  aeronautical exhibition dedicated to 100 years of flying in Italy. The exhibit will be open to schools and organised groups.

The “Nuovo Cinema Aquila” movie theatre presents

1-3 April, Via L!Aquila 68, Pigneto District
A retrospective of Futurist Cinema, organised by Bruno Di Marino and Giovanna Trento.

During the first two days, “Cinema, Futurism, Futurisms”, talks by scholars of the calibre of Abruzzese, Aprà, Bertetto, Ferrarotti, Lischi and Montanaro, who will present shot films produced beween the 1910’s and the 30’s and connected with Futurist theories. On 3 April, “Marinetti and Africa: between Futurism and colonialism”, an interdisciplinary day focussed on the ties between the Futurist imagination and the reality of Italy’s colonies.
The Auditorium Music Park presents

An exhibition organised by Claudia Salaris from 9 April to 31 May 2009, the Auditorium “Spazio Arte”

A perfect facility for an exhibit that illustrates the history of futurism in terms of music, drawing on a vast selection of original documents: books, posters, scores, records, playbills, magazines, photographs, drawings, caricatures, pottery, manuscripts, letters, invitations and concert programs. The materials are on loan from the collection of Claudia Salaris and Pablo Echaurren, held to be possibly the most complete collection of Futurist materials and prints. Items range from an original copy of the edition of “Le Figaro” that came out with the founding Manifesto, accompanied by a pamphlet listing only the key points of the program, plus the technical manifesto of Futurist literature, the Destruction of Syntax; Imagination without Strings; Words Unleashed, Dynamic and Synoptic Declamation, Marinetti’s Manifesto of the Radio, The Painting of Sounds, Noise, Odours, by Carlo Carrà, Futurist Reconstruction of the Universe, by Giacomo Balla and Fortunato Depero, Musical Words, by Marinetti and Tullio Crali etc.. The books include: Zang Tumb tuuum e Les mots en liberté futurists, by Marinetti, Piedigrotta, Café Concert and Pentagram Poetry, by Francesco Cangiullo, Radio Lyrics by Depero, the “Radio Summaries”, in which Marinetti lays the groundwork for “Silence”, paving the way for John Cage. But there are also published theatrical works tat include the use of music, as in the case of the fire drum in Marinetti’s “African Drama of Heat, Colour, Noise and Odours, with a Musical Interlude by Maestro Balilla Pratella and Intermittent accompaniment by a Snoring Noise-Maker”, plus, by the same author, Prisoners and Volcanoes, with “musical interludes” by Franco Casavola, who also composed music for the “Cosmic Novel for the Theatre”, a Journey by Gararà di Benedetta. Finally, books that are generically inspired by music, such  as Jazz Aria, by Vladimiro Miletti, Explosive Laughs and razor Slashes, with the “Jazz Band Jeers-Mottos”, by Fernando Cervelli, the Loving Fighting Futurist Songwriter, with song lyrics etc.. In the central section, set aside for music and choreography, is a vast retrospective on books and posters, from the Aviator Dro and Futurist Music (with the cover, especially worthy of note, by Boccioni), by Francesco Balilla Pratell, to the Art of Noise, by Luigi Russolo, as well as Futurist Dance, by Marinetti, Musical Improvisation, by M. Bartoccini and A. Mantia, the Chromatic Atmospheres of Music, by Franco Casavola, the Manifesto of Synthetic Aerial Music, by Aldo Giuntini, etc., not to mention the numerous scores by Pratella, Casavola, Silvio Mix, Franco Sapio, Virgilio Mortari, Nino Formoso, Aldo Giuntini, Felice Boghen, Carmine Guarino, Erm. Carosio, Luigi Grandi etc..
Other points of interest include the ties to Petrolini, who included Malthusian songs and verses of Futurist inspiration in his performances, as well as the working relationship established with the celebrated composer of popular music, Rodolfo De Angelis, at the Futurist Theatre “Sorpresa”, were, for that matter, the “Improvised Discussions of Musical Instruments” and vocal orchestra was performed. In addition to the records of De Angelis, an original edition of a record with the voice of Marinetti will be on display, alongside a valuable manuscript by Luciano Folgore regarding a project meant to render books obsolete with the phonograph, thanks to which the poets’ voices could be heard directly. The exhibit layout will include will include spots were recordings of Futurist music and songs can be heard.

“Altrove” Productions and the Brancaccio Theatre present
played by Roberto Herlitzka and Nancy Brilli, written for the stage by Maurizio Costanzo, directed by Marco Mattolini
The Brancaccio Theatre, 16 and 17 April, 9:00 pm

A celebration of Futurist poetry and theatre. The ostensible purpose is to tell the story, for the very first time, of the Futurist poet Ugo Straniero, who received little or recognition during his lifetime, worked as a librarian and died shortly after his sixtieth birthday. In 2003 Maurizio Costanzo received a parcel containing some poetry, along with a polite letter signed by Niccolò Straniero. The son told his father’s story and proposed that some of the poems be read to the public. The verses were read on the television program “Buona Domenica” (“Have a Good Sunday”), one each week. Others were published in the magazine “Chi”, after which  Raffaele Morelli, a psychiatrist, proposed that the poems come out in a volume published by the Riza company. Thanks to these promotional efforts, Ugo Straniero’s work can currently be found in a number of anthologies, and a work of his was performed at a recital by Gino Paoli and Ornella Vanoni. Ugo Straniero would then have simply returned to the anonymity that was his lot in life, were it not for the fact that February 2009 marks the centenary of the birth of the Futurist movement. This is the point of depicting certain moments in the life of Ugo Straniero on the stage, in the belief that Futurism represented a striving to revive creative fantasy, and in the certainty that people’s lives are quite often anything but what they seem. Four lines from Ugo Straniero: “We are still there / hugging tight / even tighter: / without time, / duties, deadlines / as without worn-out judgments. / We are happy”.

The Rome Opera Theatre presents
“Teatro Nazionale” Via del Viminale 51
First performance Thursday 7 May 2009 at 8:30 pm
other dates: Friday 8 May at 8:30 pm, Saturday 9 May at 6:00 pm, Sunday 10 May, 5:00 pm
Music by Savinio, Lourié, Casella, Mortari, Mix, Casavola, Giuntini, Antheil, performers Ileana Citaristi, Tadashi Endo, Carla Fracci and Maximilian Nisi
Soprano Susanna Rigacci, Piano Daniele Lombardi
Mechanical Music Machine George Antheil
Choreography Ileana Citaristi, Vittorio Di Rocco, Tadashi Eudo, Mario Piazza, Luca Veggetti, Gillian Whittingham
Set design Franco Purini
Costumes by Anna Biagiotti

The énfants térribles of the last century, or the Bad Boys, as Antheil referred to himself in his autobiography, are the subject of an evening that is closely tied to Futurism, meaning the first avant-garde to make its appearance in the twentieth century. The tumult of experimentation swept up all of artistic life in Europe and even if Casella never wanted to be known as a “Futurist”, his Deux Contrastes is indissolubly linked to Boccioni, being a tribute to the latter’s premature death. Savinio was never a Futurist either, but the “Chants” constituted an extraordinary innovation for the piano. The other composers on the program did consider themselves “Futurist”, and they played roles of historic note, creating new worlds of sound which, a full century later, can be listened to with renewed interest. In a dimension bereft of aesthetics, the piano performance of Daniele Lombardi becomes one with the colours, the lights, the dance performances and the filmed pieces, recreating a newly spectacular performing atmosphere in line with what was theorised by Marinetti in his Futurist manifestos.


Rome, 8 – 9 May, Palazzo dei Congressi and the Ara Pacis

Since 2000, Dissonances stands as the most important Italian event, and one of the most prestigious in all of Europe, in the fields of electronic music and digital art. Each year the most accomplished artists one international scene are provided with the opportunity to present unique, exclusive projects: DJ & Live set, Projections & Performance, Workshops & Exhibitions. This year particular attention will be focussed on Futurist poetry.

Futurist Books – Presentations

by Mirella Bentivoglio and Franca Zoccoli (De Luca Art Publishers), Thursday 29 January
National Gallery of Modern Art, Salone dell’Ercole, 5:30 pm

by Giordano Bruno Guerri (Mondadori) Tuesday, 24 February
Campidoglio (Capitoline) , Sala del Carroccio, 6:00 pm

by Mario Verdone (published by Memori Editore), with Carlo Verdone
Friday 17 March
Campidoglio (Capitoline), Sala della Protomoteca, 5:30 pm

Organised by Giancarlo Carpi (Castelvecchi)
Thursday 5 March
Casa delle Letterature, 6:00 pm
Presentation, exhibit and readings, with Barbara Alberti, Fabio Benzi, Daria Galateria and Andrea Gareffi

by Gino Agnese (published by Liguori Editore), time and place to be announced

Various Authors (Published by Electa Editrice), time and place to be announced

16 May and beyond – Last bursts of Futurism

Esplor/Azioni presents

A project by Giancarlo Cauteruccio and Gioia Costa
The correspondence that testifies to the passion that tied the restless Roman princess Vittoria Colonna to Umberto Boccioni, one of the most important figures in the Futurist movement, was an unexpected discovery: while searching in the family archives for material on the life of Leone Caetani, husband of Vittoria and a man of must more in early 20th century Italy, Marella Caracciolo Chia found in a locked trunk, in the midst of bundles of letters carefully tied with periwinkle gauze, those sent by Vittoria to her husband, a set of letters stored separately from the rest, tightly bound with a piece of twine. Twenty-one letters and a few photographs told of the love between Vittoria Colonna and Umberto Boccioni. This discovery, and the wish to go back in time to the encounter that gave rise to these letters, sparked the idea behind the book Luminous Parenthesis.

The Cultural Association “Diritto e Rovescio” presents
with Roberto HerlitzkaAn extraordinarily enthralling piece inspired by the texts of Marinetti, Settimelli, Corra, Boccioni, Balla and Cangiullo, interpreted by a performer of boundless talent.

“Nuove forme sonore” presents
Voice: Silvia Schiavoni
Trombone and electronics: Giancarlo Schiaffini Images: Ilaria Schiaffini
Pieces performed for the very first time, with projections of images of Umberto Boccioni and texts drawn from original materials by the great Futurist artist himself.

The ATDC presents
with con Giuseppe Pambieri and Sabrina Negri, directed by Giovanni Antonucci

A re-enactment of the mythical Futurist evenings, always events that walked the fine line between playing and brawling, between battles of ideas and practical jokes. The extraordinary success of these events was due less to the originality of the ideas proposed than  to the relationship established with the audience, which became directly involved in the theatrical production. This particular Futurist evening presents, through a collage of summaries, poems and manifestos, suitably adapted for the stage, the masterful, farsighted creative inventions of Marinetti, Cangiullo, Balla, Boccioni, Corra, Corradini, Palazzeschi and Settimelli.

Music Theatre International – MTI – presents
From an idea by Sabrina Filacchioni, playwright Paola Sarcina
Dedicated to the Marquise Luisa Casati, a figure who gained legendary status on account of her glamorous, exuberant personality. Tall, thin, not beautiful (“rather than beautiful, she was magnificent”, writes Quentin Crisp in the preface), rather androgynous and, most of all, determined to gain attention at any cost. Luisa Casati spent her existence in the pursuit of excess.

Arts Foundation NRW presents
An idea by Rochus Aust and Fosco Perinti

In each of the seven rooms of the space chosen for the piece, the audience will find a player (an actor or a musician). Each table will be covered by a landscape (an Alpine landscape, and lowland landscape with lakes and hills, a volcanic landscape, a southern sea landscape enlivened by tiny islands, an underwater seascape, a farming scene and a landscape with white an brown mountains, plus green pines). The landscape will be either projected or printed on the tablecloth. Geometric elements underneath the table will structure the image. The seven actors musicians will personify the fundamental principles of Futurism : the machine (2 hostesses), speed (a race driver), simultaneity (2 twin trumpet players), dynamism (a hyperactive clarinettist) and discipline (a general).
At each table the performer is «preparing» or «cooking» or «eating» a portion of the menu (Alpine Dream, Civilised Farm Life, Charm of the South, Colonial Instinct), with metal plates and silverware, with music, sounds and words, but with no food. Each table is outfitted with one or two electric vibrators positioned below the tabletop, where they cannot be seen. At predetermined points in time the vibrators will be triggered, causing the plates and silverware to shake to the point of falling onto the floor. This is the signal that tells each of the actors/musicians to move to another room and join the performer already there, so that they can act or make music simultaneously. The action continues, modulating into different movements, as if it were a symphony.

Ipermedia presents
Study Days
With the participation of, among others:
Hakim Bey, Giuseppe Parlato, Carlo Pepe, Riccardo Sanchini and Marco Tarchi

The occupation of Fiume was an historic fact that actually took place in this city on the Northern Adriatic (called Rijeka by the Croats), with Gabriele D’Annunzio playing the leading role. Wearing the uniform of a Lieutenant Colonel of the Lancers of Novara, the poet, writer and soldier led a group of roughly 2,600 rebellious Grenadiers garrisoned in the town of Ronchi (during the Fascist period the name was changed to Ronchi dei Legionari, in honour of the soldiers, or “Legionnaires”, and it has remained that way ever since), near Monfalcone, to Fiume. The city was occupied on 12 September 1919. In the late afternoon D’Annunzio proclaimed the city to be annexed to the Kingdom of Italy (under the Italian Regency of Carnaro). The Italian Government, led by Francesco Saverio Nitti, tried to negotiate a surrender on the part of the Legionnaires and their withdrawal from the city, which, in the meantime, with the signing of the Treaty of Rapallo on 12 November 1920, had been declared an independent city-state. In the month of December, Giovanni Giolitti, who had replaced Nitti as Prime minister, ordered that the occupiers be driven out. The assault by the Italian Army on the Italian Regency of Carnaro (an episode known as Bloody Christmas) resulted in a few dozen death divided between the attackers and defenders. During the time he spent in Fiume in September of 1919, Filippo Tommaso Marinetti coined the term “forward-fleeing deserters” for the occupying force.

The Theama Teatro presents
Director: Piergiorgio Piccoli
“Diving at the City” by Ubaldo Serbo (1941) A-Futurist-Aerial-Poet-of-the-Savaré-Unit
+ Noiseisms + Dynamic Decors
Poem of the Express Train that Sings in the Tunnel” by Ubaldo Serbo (1941) A-Futurist-Aerial-Poet-of-the-Savaré-Unit DECLAMATION
“Swimming in the Tiber” by Libero Altomare 1910, Evening in Milan 1911, Evenings in Mantua and Como DECLAMATION
“The Song of the Shut-Ins” by Paolo Buzzi 1910, Evening in Trieste 1911, Evenings in Ferrara and Mantua
“Ode to the Automobile”; 1908 (Evening: 1910 Trieste)
“Aerial Poem of the Gulf of La Spezia”; 1935
(“Simultaneity of a prehistoric Futurist twilight heavy with hate, lust and the purest love”) UNRESTRAINED WORDS
“Bombardment of Adrianopolis” 1912;
(Evenings: 1913 Rome; 1914 Milan, Bologna, Forlì, Genoa)
Original sound by F.T.Marinetti (30 April 1924)

“Capalbio Poesia” presents
From an idea by Annapia Greco
Directed by Stefano De Sando and Silvio Peroni
Plated by Stefano De Sando, Antonello Fassari, Francesco Pannofino and Massimo Venturiello
A lesser known aspect of Futurism is how it related to Italian vaudeville poetic parody, as well as comedy and the art of poking fun.

Mythos Project presents

With Maria Rosaria Omaggio

In Paris, Martinetti write in Mayakovsky’s notebook: «À mon cher Mayakovsky et la grande Russie énergique et optimiste touts mes souhaits futuristes». And on the following page he added: «Au grand esprit novateur qui anime la Russie: que’il ne s’arrête pas! Notre âme futuriste italienne ne s’arrêtera pas!»

Excerpts from two pieces, one by Marinetti and the other by Krushenick and Mayakovsky; a portion of a piece based on a celebrated composition of Marinetti, featuring Maria Rosaria Omaggio’s vocal and acting performance of unrestrained words, sustained by the rhythm and the sounds of the percussionist Livio Matrone, all of which, together with the aid of modern-day techniques, makes it possible to reconstruct the magical atmosphere of the Magnetic Theatre. The idea came from Prampolini and, together with Casavola and Marinetti, it was brought into being in Rome, at the Theatre of the Independents, in the 1920’s. In collaboration with the Mikelovsky Theatre, directed by Simeon Spivak, with theb festival “SPACES AND MEMORY, theatre and culture from 1920 to 1940” of Viterbo.
The other performance will be dedicated to Krushenick, with Russian and Italian actors playing in “The Victory over the Sun”. The fame of Pobeda nad solnsem, staged in December of 1913 at St. Petersburg’s Luna Park Theatre, with music by Michael Matyushin and sets an d costumes by Kazimir Malevich, is due primarily to the contribution of the latter. The production of the opera was revolutionary, especially as regarded the use of lighting and the stage-sets, which  offered an advanced look at Suprematism.

The “Valle Giulia” School of Architecture of the University of Rome, “La Sapienza”
Campus, the Schools of Fashion and Costume Design of Rome and Latium and the Ministry of Air Defence present:

A project by Amedeo Fago and Giancarlo Sammartano, based on an idea by Giuliana Antonini-Andreozzi, September 2009
Futurist Aerial Fashion is a cultural and entertainment initiative that grew out academic study and reflection on unexplored zones of the continent of Italian Futurism. Following the paths of inspiration traced by flying, speed, colour, architectonic forms and the structure of the theatre, the aim is to bring the experience back to life in the present, so as to draw new inspiration for the future.
The initiatives will be distributed among three spaces designed by there different leading figures in architecture in the early 1900’s, all three of whom taught at the Valle Giulia School:
1 – the Air Force Headquarters on the Viale Pretoriano, designed by Roberto Marino;
2 – the “Vale Giulia” School of Architecture, designed by Enrico Del Debbio,
3 – the Convention Hall in the EUR zone, designed by Adalberto Libera.

The first space will hold the major exhibition “AERIAL PAINTING”, to be supplemented by a presentation of original Futurist clothes and theatrical costumes obtained on loan from private collectors and theatrical custom shops. The second space shall be set aside for encounters and debates involving students ad teachers in the various disciplines which, during the academic year, have been the focus of research. There will also be workshops, encounters, conferences, conversations onstage, exhibitions and demonstrations of works on topics, figures and phases of Futurism.

The third space will host the culminating event in a day of “Futurist” entertainment, offering a variety show that proves to be a mix of the theatre, music, poetry, dance, cinema, visual arts and gastronomy of Futurism. A series of fashion tableaux will highlight the work of young designers, being carried out in collaboration with the Academies and, asalways, inspired by the topics and forms of Futurism.
In addition, the most noteworthy creations from the historic collections of established designers shall be presented anew.

The Italian-Latin America Institute presents
An exhibit organised by Irma Arestizàbal
Official opening on 10 September, through 3 October
IILA, Stables of Palazzo Santa Croce, Piazza Benedetto Cairoli, 3

This exhibit, designed to stimulate study of the wealth of ties between Futurism and Latin American Art, revolves around two towering figures of early 20th-century art:  the one a Latin American tied to the Futurist movement at its start and the other an Italian who became a Futurist when the movement was already an established reality.

Overcom srl presents
Un docu-film by Luca Verdone, date to be announced

The docu-fiction format is well suited to reconstructing the cultural background, and establishing a suitably flexible historical context, for this look at a significant portion of the life of Filippo Tommaso Marinetti, the charismatic figure at the heart of the film, whose story is set in the lively intellectual climate that had such a deep and lasting influence on the existential and literary sensibilities of the founder of Futurism.

3 Replies to “FUTUROMA schedule of events”

  1. My Father’s brother was Mario Buggelli,can you give me as much information
    on him as you can.Thank you.
    James Buggelli Houston Texas

  2. James Bugelli, would you happen to know or be related to a James that was an air policeman in the usaf and was stationed at Brize norton air base between 58/60. He would be in his middle to late 70’s. Thank you

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