Filippo Tommaso Marinetti
Manifesto «Le Futurisme», in Le Figaro, Paris, 20 February 1909
Filippo Tommaso Marinetti; Ramón Gómez de la Serna
«Proclama futurista a los españoles», in Prometeo, Madrid: Prometeo, n.d. [1910?]
Anton Giulio Bragaglia
Fotodinamismo futurista. Sedici tavole, Rome: Nalato, n.d. [1911?]
Francesco Balilla Pratella; Umberto Boccioni
Musica futurista per orchestra. Reduzione per pianoforte, Bologna: F. Bongiovanni, 1912
Filippo Tommaso Marinetti
Zang Tumb Tuuum. Adrianopoli ottobre 1912. Parole in libertá, Milan: Edizione Futuriste di "Poesia", 1914
Ardengo Soffici
Bïf & Zf +18 simultaneitá e Chimismi lirici, Florence: Edizioni della "Voce", 1915
Carlo Carrá
Guerrapittura. Futurismo politico. Dinamismo plastico. 12 disegni guerreschi. Parole in libertá, Milan: Edizioni Futuriste di "Poesia", 1915
Filippo Tommaso Marinetti
Lussuria velocitá, Milan: Modernissima, 1921
Rosetta Amadori
Letter to Fortunato Depero, Rovereto, 1926
Fortunato Depero
Laboratorio degli Arazzi, 1926. Ink and collage on paper, 30 x 41 cm
Fortunato Depero
Depero futurista, Milan: Edizione Italiana Dinamo-Azari, 1927
Fortunato Depero
New York film vissuto. Primo Libro parolibero, [Rovereto?]: s.n., 1931
Dino Terra
L´amico dell´angelo, Rome: La Ruota Dentata, 1927
Tullio D´Albisola; Bruno Munari; Filippo Tommaso Marinetti
L’anguria lirica, Rome: Edizioni Futuriste di "Poesia", 1934
65 works of art and documents.
In 1909, the Italian ideologue, poet and editor Filippo Tomasso Marinetti published the founding Manifesto of Futurism in the Parisian newspaper Le Figaro. Thus began an art movement that called for a radical rupture with the past: it championed progress and the modern world, glorified war, demonstrated a commitment to force, dynamism, machines and speed, as well as technology and its latest creations. The words of its founder, Marinetti, who defined a racing car as something ‘more beautiful than the Winged Victory of Samothrace’, demonstrated to a large extent what Italian Futurism was to represent.
The contribution of Futurism to contemporary art was fundamental for over 30 years, and its proposals have left their mark on the present day. Futurism was the first movement to call for typography to be reinvented based on a theoretical approach—as it did with many other subjects—by introducing the practice of the manifesto, which it used to declare what was subsequently to be done.
Archivo Lafuente brings together almost 65 Futurist works and documents, from the movement’s most representative manifestos to various examples of works and correspondence, including books, magazines, catalogues, posters, pamphlets and printed matter. The works and documents that comprise the collection are divided into two sections: on the one hand, those that defined the movement and, on the other, the group of artists that were involved in it, with a particular emphasis on the two most well-known figures of Futurism on the international stage: Filippo Tommaso Marinetti and Fortunato Depero.