Futurism. Texts and Manifestos 1909-1944.
| N° d'inventaire | 19254 |
| Format | 13 x 20 |
| Détails | 2208 p., paperback. |
| Publication | Seyssel, 2015 |
| Etat | Nine |
| ISBN | |
The first global movement, advocating the revolutionary overcoming of the museum and the bourgeois system of art separated from life, Futurism was the model for all the avant-garde movements that punctuated the artistic and cultural life of the 20th century, whether Dadaism, Constructivism or Surrealism. Annexing to the domain of artistic creation the most modern methods of advertising propaganda, exalting the culture of the ephemeral and permanent change, it anticipated many experiments in modern and contemporary art. Founded by the writer FT Marinetti in Milan in 1909, Futurism invested until 1944, without any hierarchical distinction, all areas of human creation (poetry, literature, music, painting, sculpture, architecture, photography, cinema, theater, dance, scenography, poetic recitation, typography, radio, urban planning, fashion, sports, cuisine, science, decorative arts, eroticism, etc.), but also models of social behavior and, in a more hazardous way, political commitment. A century after the birth of Futurism, this book takes stock of this revolutionary movement led by poets and artists. But it also reconstructs the complexity and multiplicity of political positions that were expressed within the Futurist movement itself in response to its utopian tension towards the future. It examines the oft-asked question of the origins and deviations in the trajectory of the ideological choices that shaped and heavily marked the history of the 20th century.
The first global movement, advocating the revolutionary overcoming of the museum and the bourgeois system of art separated from life, Futurism was the model for all the avant-garde movements that punctuated the artistic and cultural life of the 20th century, whether Dadaism, Constructivism or Surrealism. Annexing to the domain of artistic creation the most modern methods of advertising propaganda, exalting the culture of the ephemeral and permanent change, it anticipated many experiments in modern and contemporary art. Founded by the writer FT Marinetti in Milan in 1909, Futurism invested until 1944, without any hierarchical distinction, all areas of human creation (poetry, literature, music, painting, sculpture, architecture, photography, cinema, theater, dance, scenography, poetic recitation, typography, radio, urban planning, fashion, sports, cuisine, science, decorative arts, eroticism, etc.), but also models of social behavior and, in a more hazardous way, political commitment. A century after the birth of Futurism, this book takes stock of this revolutionary movement led by poets and artists. But it also reconstructs the complexity and multiplicity of political positions that were expressed within the Futurist movement itself in response to its utopian tension towards the future. It examines the oft-asked question of the origins and deviations in the trajectory of the ideological choices that shaped and heavily marked the history of the 20th century.