Muzeu Futurism Caorle

Before entering the exhibition rooms

“Futurism: Prophecy ad Revolution” aims to offer visitors the broadest possible overview of the Futurist movement, presenting it not only as an aesthetic renewal but as the true “revolution of intent”—a revolution in aesthetics and form—that it was. Beginning with Filippo Tommaso Marinetti’s 1909 Manifesto, this movement has continued to the present day, influencing the visual arts, music, literature, theatre, and, in some ways, life itself. An avant-garde that presented itself as an experience of active participation through the vision of a movement that changed the way we conceive art and modernity forever.
As Marinetti wrote, “We affirm that the magnificence of the world has been enriched by a new beauty: the beauty of speed.” The celebration of dynamism and this unstoppable drive toward the new become the main topics in this exhibition from 1901 to 1943–1944. Included are iconic, previously unseen, and rediscovered artworks such as Italo Fasolo (Fasullo)’s La Battaglia di Sassabaneh, exhibited at the 1938 Biennale, and, among the texts, the first edition of 1910 of Mafarka il Futurista and Zang Tumb Tumb from 1914, both authored by Marinetti and dedicated by him to Enrica Piubellini, a Futurist poet, as well as Guerra Pittura by Carlo Carrà and Anti Biennale by Fortunato Depero. These will be accompanied by the experimental works of Cesare Andreoni, Giacomo Balla, Anselmo Bucci, Orazio Toschi, Bot, Tullio Crali, Giulio D’Anna, Fortunato Depero, Michele Falanga, Osvaldo Peruzzi, Marisa Mori, Uberto Bonetti, Tato, and many others. Marinetti was the first to speak of art “for everyone” with the “will to think, create, awaken, and renew,” anticipating the work of Andy Warhol, John Cage, and international Pop Art. In this first historical avant-garde, he foresaw everything we experience today—from laptops to electronic music, from fashion to editorial design, and even to fashion and happenings (art-related events).
This exhibition therefore aims to provide an insight into a movement which, viewed as a whole, appears not merely as an aesthetic and stylistic renewal, but in every respect as a cohesive and unified ‘credo’ in dialogue with a Zeitgeist that had a considerable influence on the very spirituality of all the artists who embraced Marinetti’s ideals.