he question is one critic Renato Barilli has asked himself for some time. It is a question that does not solely concern academia: describing and putting into perspective the many directions taken by the leading Italian avant-garde movement has assumed a particular urgency in the wake of the sweeping centenary celebrations of Futurism (2009). The Mart participated massively in these celebrations, producing the “Futurism 100” exhibition curated by Ester Coen, inaugurating a new museum site, the Casa d’Arte Fortunato Depero.The exhibition will include about 30 works by Gianantonio Abate, Clara Bonfiglio, Dario Brevi, Gianni Cella, Andrea Crosa, Innocente, Marco Lodola, Battista Luraschi, Luciano Palmieri, Plumcake and Umberto Postal.
Their works will share the same space as the tapestries, canvases, works of art and drawings of Fortunato Depero in a layout aiming to highlight the great capacity these artists had to move freely between the various forms of artistic expression, using materials produced by the new technologies of the time, including Plexiglas, PVC and neon lighting.
The “New Futurists” explored the territories at the border between design and advertising, and between narration, comic strips and animated cartoons.
Curated by Renato Barilli and Nicoletta Boschiero