‘My plastic balls’ (1918), Canvas Depero.
Among the many prophecies of the Futurist Fortunato Depero (Fondo, Trento, Rovereto-1892, 1960) confirmed that the future, there is a in the sample which devotes the Juan March Foundation (until January 18) that could have been written yesterday by an internet guru: in your Book Imbullonato (literally screwed) first book the avant-garde artist, painter, illustrator, sculptor, creator of icons like the bottle of Campari and Italian architect proclaimed “the necessity of self-advertising.” Only promotional strategy can serve openly, he believed, the truly new art.
The exhibition includes 300 pieces, own and fellow travelers as Marinetti, Boccioni or Balla. The “tutto Depero” presented here (the slogan is director of collections March, Manuel Fontan) draws a multidisciplinary, multimedia creator long before the palabros fortune should do, as well as a firm believer in the forefront as an engine of change, although this would lead to confuse things, like the rest of the group, with the arrival of Mussolini, for whom he worked as a propagandist request. As Giovanni Lista writes in the splendid catalog, “to sustain mutually Futurism and Fascism ally in this period and forced an ambiguous covenant.”
Taken far as futuristic second row (or, at least, second time), our man embraced the faith in 1914, with its promise of abolishing the artistic tradition and its glorification of the machine, the speed and the war, when the momentum of Marinetti’s manifesto, published six years before the Parisian newspaper Le Figaro, brio and had lost World War I was about to engulf Boccioni. Still, he would not abandon those budgets until his death, which is but a powerful proof of his enthusiasm bombproof, much as it was his decision to travel to New York in 1929 if “a roaring car that seems to ride on grapeshot is more beautiful than the Winged Victory “, according recited the creed of Marinetti, what better promise for Depero that mechanized metropolis
The exhibition includes 300 from him and other members of the movement
‘Campari’ (1931), Canvas Depero.
“A Vision pinturocéntrica of the vanguard has brought the scorn of other art forms such as design or graphics, which highlighted Depero hard. And that’s changing, “says Fontan. To tell her story has had the collaboration of Juan Pablo Rodríguez Frade, creator of such excessive as the personality of Depero scenery. An Italian flag with asymmetrical stripes like the postcard of the famous futurist welcomes visitors. For an impossible recess the work Vacation Marinetti patriotic, psychological portrait of Depero Canvas frame with the shape of a fin plane guesses. It is the centerpiece of a first part in which manifestos, magazines and others and own works, early examples of Depero in the journey between symbolism and futurism are exposed.
The next section is the turn of their theatrical experiments, whose ambitions attests a giant reproduction of the scenery created for The Nightingale, of the Diaghilev Ballets Russes. In the central hall, a wooden building recreates its Futuristic Casa d’Arte (“history of Warhol’s Factory” believes Fontan). To either side of their aeropinturas examples, “motoruidistas plastic sets” and canvas on which its modern proselytizing was not at odds with the vernacular art of northern Italy happen. And finally, in a nod something kitsch, a roomful of transistors dismisses the visitor with texts of their radio poems, are called to meet with futuristic premonition usual recipe waves, “customary and useless broadcasts music known, the usual banal chatter literary and theatrical insignificados altercations. “
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