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museo di arte moderna
e contemporanea
di trento e rovereto

  • Tullio Crali, Spazioscenico polidimensionale per ambienti sociali, 1931
  • Quirino De Giorgio, monumento ai caduti del mare, 1931 (matita) su carta, Archivio Studio De Giorgio
  • Palazzo dei Ricevimenti e Congressi di Adalberto Libera all’E42 a Roma. Il vano scala, 1937-1942 Mart, Archivio del ’900, Fondo Libera/Foto di Gabriele Basilico

The utopian City
From the Futurist metropolis to EUR42

Casa Depero
30 May 2016 / 25 September 2016

s part of the celebrations born for the 500th anniversary of the publication of Thomas More’s Utopia, some drawings from the collections of the Mart, the Museo Civico Ala Ponzone of Cremona, Ordine degli architetti, pianificatori, paesaggisti e conservatori di Bologna, the Archivio Luigi Saccenti and the Archive Quirino De Giorgio of Vigonza will be displayed. All are drawings by artists and architects depicting the theme of the city as a privileged place of modernity, the place that welcomes the keywords of the Futurist philosophy: future, speed and movement. The urban landscape goes from static to mobile, growing at the same time as the new ideology of the machine; such is the metropolis imagined by Antonio Sant’Elia, a project proposal that is still amazing today. His “proto-rationalism” is echoed in the imaginative propositions of Fortunato Depero who adopted a “plastic-mechanistic” concept. The works from the 1930s by Tullio Crali and Quirino De Giorgio rework Sant’Elia’s themes of stations, pyramid houses, skyscraper and interest in air transport. Their projects, which explore architecture between the wars, develop Futuristic themes and insights such as the impermanence and transience of architecture, the world as a city connected by air communications, mobile homes, aerodynamic vehicles, the dominion over the skies, earth and sea. Angiolo Mazzoni and Adalberto Libera – two pillars of rationalist architectural design – grappled with Utopian programmes, the first at Sabaudia in 1934, the new town in the Pontine Marshes, and the second with the major project of Eur 42, for the Universal Exposition. The Eur site in the thirties became a creative hub bringing together the work of enlightened architects. The construction site was halted as onset of World War II approached. In the imagination of many Italian film directors, Eur would represent the perfect setting for their work.


Curated by Nicoletta Boschiero