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Futurism in Italian Verbo-Visual Poetry after the Second World War

  • Pasquale Fameli
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Volume 13 2023
Ein Kapitel aus dem Buch Volume 13 2023

Abstract

This essay explores the ever-changing panorama of verbo-visual poetry after the Second World War in Italy, tracing back its manifold, divergent and articulated forms - spanning Concrete, Visual, Symbiotic or Epistaltic Poetry - to Futurist theories and practices. By reconstructing the complicated political and cultural debate that delayed a proper assessment of Marinetti’s movement - due to its ambiguous association with Fascism in the 1920s to 40s - and following the few critical voices in Italy during the second half of the twentieth century (Masnata, Barilli, Ballerini) that fostered an essential scholarly change of course, I aim to contextualize the debt of Italian poetic neo-avant-garde(s) to Futurism. Showing how Italy was at the forefront of an international artistic turmoil that sought to affect a visual and material transformation of the poetic experience, the analysis focusses on the creative and theoretical works of a number of poets and artists, who played a significant rôle in the critical revision and practical prosecution of Futurism from the mid-1960s onwards and promoted the rediscovery and further development of paroliberismo: namely, Carlo Belloli (1922-2003), Arrigo Lora Totino (1928-2016), Maurizio Nannucci (1939‐), Mimmo Rotella (1918-2006), Lamberto Pignotti (1926‐), Stelio Maria Martini (1934-2016) and Paolo Albani (1946‐). Examining the unique physical and formal characteristics of their outcomes in the framework of the Italian cultural climate of the time, all the while highlighting their instances of continuity with the earlier Italian avant-garde, the ultimate aim of the essay is to re-evaluate a series of little-studied, albeit fundamental experiences for a complete and systematic reclaiming of a (Neo)Futurist aesthetics.

Abstract

This essay explores the ever-changing panorama of verbo-visual poetry after the Second World War in Italy, tracing back its manifold, divergent and articulated forms - spanning Concrete, Visual, Symbiotic or Epistaltic Poetry - to Futurist theories and practices. By reconstructing the complicated political and cultural debate that delayed a proper assessment of Marinetti’s movement - due to its ambiguous association with Fascism in the 1920s to 40s - and following the few critical voices in Italy during the second half of the twentieth century (Masnata, Barilli, Ballerini) that fostered an essential scholarly change of course, I aim to contextualize the debt of Italian poetic neo-avant-garde(s) to Futurism. Showing how Italy was at the forefront of an international artistic turmoil that sought to affect a visual and material transformation of the poetic experience, the analysis focusses on the creative and theoretical works of a number of poets and artists, who played a significant rôle in the critical revision and practical prosecution of Futurism from the mid-1960s onwards and promoted the rediscovery and further development of paroliberismo: namely, Carlo Belloli (1922-2003), Arrigo Lora Totino (1928-2016), Maurizio Nannucci (1939‐), Mimmo Rotella (1918-2006), Lamberto Pignotti (1926‐), Stelio Maria Martini (1934-2016) and Paolo Albani (1946‐). Examining the unique physical and formal characteristics of their outcomes in the framework of the Italian cultural climate of the time, all the while highlighting their instances of continuity with the earlier Italian avant-garde, the ultimate aim of the essay is to re-evaluate a series of little-studied, albeit fundamental experiences for a complete and systematic reclaiming of a (Neo)Futurist aesthetics.

Kapitel in diesem Buch

  1. Frontmatter I
  2. Table of Contents V
  3. Editorial IX
  4. Volume Editors’ Preface XV
  5. Section 1: Futurism Studies
  6. 1 Italy
  7. Futurism in Italian Verbo-Visual Poetry after the Second World War 5
  8. Bang Tumb Tuuum! The Influence of Futurism on Italian Avant-garde Comic Strips 39
  9. Even the Great Marinetti Got It Wrong: Giovanni Tuzet’s Logical Neo-Futurism 69
  10. 2 Russia
  11. Gennady Aygi and Russian Futurism 97
  12. Serge Segay, Rea Nikonova and Italy: Between Futurism and Mail Art 135
  13. Konstantin K. Kuzminsky as a Neo-Futurist 167
  14. 3 Asia and Latin America
  15. The Post-utopian Avant-garde Poetics of the Korean ‘Futurist’ Min-jeong Kim 197
  16. The Infrarealist Movement and its Futurist Roots 227
  17. Russian Futurism and Brazilian Avant-garde Poetry: Incorporation, Translation, Convergence 253
  18. 4 Music, Sculpture and Architecture
  19. Back to the Future of The Art of Noises: The After-Life of Futurism in Twentieth-Century Music 285
  20. Postcolonial Retro-Futurism: Alessandro Ceresoli’s Linea Tagliero Prototypes 315
  21. 5 Artist Statements
  22. Transfuturism Manifesto 349
  23. From Words-in-Freedom to Epigenetic Poetry: Evolutions in Futurist Recitation and Performance 353
  24. The Future of Futurism in Digital Photography 367
  25. The Infinite Wrench: An Ensemble Member Reflects on the Theatre Company ‘The Neo-Futurists’ During and After Greg Allen’s Tenure 377
  26. Section 2: Reports
  27. EAM2022 in Lisbon: The Global Expansion of Futurism in the 1910s and 1920s 399
  28. Futurism and the Brazilian Week of Modern Art (1922): Some Thoughts Prompted by the Centenário da Semana de 22 407
  29. Anton Giulio Bragaglia: The Archive of a Visionary 425
  30. Rosa Rosà / Edith Arnaldi / Edyth von Haynau (1884–1978): A Woman Photographer and Her Futurist Inspiration 437
  31. Section 3: Critical responses to new publications
  32. The Crisis of Humanism, the Search for a New Man and the Historical Avant-garde 447
  33. Looking at the Lives of Avant-garde Women: The Collector as Scholar and Feminist 453
  34. Exhibiting Italian Art in the United States: From Futurism to Arte Povera 463
  35. Section 4: Bibliography
  36. A Bibliography of Publications on Futurism, 2020–2023 471
  37. Section 5: Back Matter
  38. List of Illustrations and Provenance Descriptions 495
  39. Notes on Contributors 501
  40. Name Index 509
  41. Subject Index 541
  42. Geographical Index 569
https://doi.org/10.1515/9783111318394-003

Kapitel in diesem Buch

  1. Frontmatter I
  2. Table of Contents V
  3. Editorial IX
  4. Volume Editors’ Preface XV
  5. Section 1: Futurism Studies
  6. 1 Italy
  7. Futurism in Italian Verbo-Visual Poetry after the Second World War 5
  8. Bang Tumb Tuuum! The Influence of Futurism on Italian Avant-garde Comic Strips 39
  9. Even the Great Marinetti Got It Wrong: Giovanni Tuzet’s Logical Neo-Futurism 69
  10. 2 Russia
  11. Gennady Aygi and Russian Futurism 97
  12. Serge Segay, Rea Nikonova and Italy: Between Futurism and Mail Art 135
  13. Konstantin K. Kuzminsky as a Neo-Futurist 167
  14. 3 Asia and Latin America
  15. The Post-utopian Avant-garde Poetics of the Korean ‘Futurist’ Min-jeong Kim 197
  16. The Infrarealist Movement and its Futurist Roots 227
  17. Russian Futurism and Brazilian Avant-garde Poetry: Incorporation, Translation, Convergence 253
  18. 4 Music, Sculpture and Architecture
  19. Back to the Future of The Art of Noises: The After-Life of Futurism in Twentieth-Century Music 285
  20. Postcolonial Retro-Futurism: Alessandro Ceresoli’s Linea Tagliero Prototypes 315
  21. 5 Artist Statements
  22. Transfuturism Manifesto 349
  23. From Words-in-Freedom to Epigenetic Poetry: Evolutions in Futurist Recitation and Performance 353
  24. The Future of Futurism in Digital Photography 367
  25. The Infinite Wrench: An Ensemble Member Reflects on the Theatre Company ‘The Neo-Futurists’ During and After Greg Allen’s Tenure 377
  26. Section 2: Reports
  27. EAM2022 in Lisbon: The Global Expansion of Futurism in the 1910s and 1920s 399
  28. Futurism and the Brazilian Week of Modern Art (1922): Some Thoughts Prompted by the Centenário da Semana de 22 407
  29. Anton Giulio Bragaglia: The Archive of a Visionary 425
  30. Rosa Rosà / Edith Arnaldi / Edyth von Haynau (1884–1978): A Woman Photographer and Her Futurist Inspiration 437
  31. Section 3: Critical responses to new publications
  32. The Crisis of Humanism, the Search for a New Man and the Historical Avant-garde 447
  33. Looking at the Lives of Avant-garde Women: The Collector as Scholar and Feminist 453
  34. Exhibiting Italian Art in the United States: From Futurism to Arte Povera 463
  35. Section 4: Bibliography
  36. A Bibliography of Publications on Futurism, 2020–2023 471
  37. Section 5: Back Matter
  38. List of Illustrations and Provenance Descriptions 495
  39. Notes on Contributors 501
  40. Name Index 509
  41. Subject Index 541
  42. Geographical Index 569
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