2011 - by Günter Berghaus (Hardcover)

About the Book

The Futurist art movement, founded by F.T. Marinetti in 1909, had a worldwide impact and made important contributions to avant-garde movements in many countries and artistic genres. This yearbook is designed to act as a medium of communication amongst a global community of Futurism scholars. It has an interdisciplinary orientation and presents new research on Futurism across national borders in fields such as literature, fine arts, music, theatre, design, etc. Apart from essays and country surveys it contains reports, reviews and an annual bibliography of recent Futurism studies.

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Book Synopsis

In the past 20 years, there has been a remarkable upsurge of interest in Futurism in most countries formerly situated east of the Iron Curtain.

Although Russian Futurism was always well-known, the multifaceted extensions of Futurism in other Eastern countries were not much reported on in Italy and became nearly forgotten after 1945. However, since 1989 a wealth of original material has been rediscovered, both in the literary and the artistic field. In this volume, sixteen experts are presenting a wide spectrum of new findings on artists who operated within the shifting coordinates of the international avant-garde and contributed to the often osmotic relations between Futurism, Dada and Constructivism.

The essays in this volume include a discussion of the multi-national character of Futurism in Central and Eastern Europe and the colonialist absorption of avant-garde practices in the Soviet Union; the Berlin directorate of the Futurist movement and its modes of operation in the international avant-garde scene of the 1920s; the infiltration of Futurism in the typographical practices of Czechoslovakia, Hungary and Poland; the hitherto almost unexamined contacts between Latvian artists and Futurism; Polish Responses to Italian Futurism; the similarities and differences between Zenitism and Futurism; the artistic ambitions of the Ukrainian Pan-Futurists in the 1920s; the Futurist experience in Transcaucasian Georgia; the reception of Futurist ideas in the Activist circles of Hungary; the public presence of a "mute Futurism" in the Czech avant-garde; Marinetti's visits to Bucharest and Budapest in the 1930s; the hybrid identity of the Bulgarian artist Diulgheroff and his career as an architect and designer in Turin; the role of Italian Futurism in the Slovenian interwar avant-garde; the aesthetic affinities and political divergences between Italian and Romanian Futurism.

About the Author

Günter Berghaus, University of Bristol, UK.