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museo di arte moderna
e contemporanea
di trento e rovereto

  • Kazimir Malevič - Le faucheur, 1912
  • Lyonel Feininger - Denstedt, 1917
  • Marc Chagall - Présentation, 1912-13
  • Umberto Boccioni - Composizione spiralica, 1913
  • Futurismo 100 - Sale espositive
  • Futurismo 100 - Sale espositive

Futurism 100
Avant-gardes compared: Italy – Germany - Russia

Mart Rovereto
15 October 2009 / 25 January 2010
The exhibition investigates the complex and often little-known relations between the Futurists and leading exponents of the Russian and German avant-garde movements.

here will thus be five stages to this exhibition, marked by five sections – reflected in the catalogue – which for the first time tell of a different and more lively Futurism than its more widely-known didactic and institutional form.

Through the various geographical areas that experienced the artistic vitality and poetics of Futurism, widely distributed thanks to the rapid diffusion offered by the manifestos, the surprising history of this movement is revisited in a dynamic and multi-faceted vision touching on the international capitals of culture of those years: from Paris to Berlin, Moscow and Rome to New York.


In the exhibition, it will be possible to see the important linguistic influences, cross-fertilisations and connections between Futurism, Cubism and Expressionism.
The same section reveals the links between the spiritualistic experiences of Kandinsky and Boccioni’s theories of “moods”. Severini, a highly important figure forming a bridge with France, Germany and the United States, and a painter much loved by Franz Marc, is present with a fine series of paintings based on the theme of dance.
Continuing the itinerary, we arrive at the Moscow section, in which are explored the profound intellectual reasons for Marinetti’s journey to Russia in 1914, the unstoppable capacity of the “caffeine of Europe” to discover and at the same time invent other areas for exploration and exchange.
And finally to New York, last step in the itinerary, where we find Severini once more, accompanying us through his contacts with Stieglitz and the important “291” gallery, fulcrum of the international avant-garde research of those years, strongly marked by the Armory Show of 1913.

Curated by Ester Coen