Il Rosso Fuoco (Rosa dEgitto Vol. 1) (Italian Edition)

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The literature review is preceded by a short outline of Ukrainian Futurism and its fate in scholarship from the s. The author shows that the research discussed here highlights the multi-national character of avant-garde practices in the Russian and Soviet Empires and delineates a 'Ukrainian' Futurist movement on the basis of cultural capital that is generally still called 'Russian'.

The Futurist Experience in Central Europe during the s The question of the Futurist typography in Central Europe is discussed here in relation to the layout of books and avant-garde magazines as well as to other kind of works of art in which letters of the alphabet play a role.

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Futurist typography is presented as a poetic-artistic practice rather than a serious professional activity. The Futurists avoided rigid rules and preferred to present modern subjects in a playful and inventive manner. Polish responses to Italian Futurism, After , the Polish press published a number of articles that reflected on Italian Futurist manifestos, but the 'practical' side of Futurism remained practically unknown to Polish artists in the years before the Great War.

A limited number of reproductions of paintings, translations of poems and short plays could not convey a rounded picture of Marinetti's movement. Until , the Italian Futurists had no personal contacts in Poland and did not exhibit there. Under those circumstances, the phrase "Marinetti is foreign to us", taken from A Nife in the Stomak, was indeed an apt description of the attitude taken by the early modern art groups in Poland towards the first avant-garde current in Europe, Italian Futurism.

The attitude of Nyugat was rather open-minded, but the review's assumed task — the modernization of Hungarian mainstream culture — did not allow the adaptation of Futurist ideas. In spite of the long and fiery debates, Hungarian Activism made good use of many of the Futurist ideas and inventions. Like many other publications of the Ukrainian modernists of the early post-revolutionary time, this document provides evidence of a fruitful interaction with the Italian Futurist movement in the Eastern outskirts of Europe.

The Hidden Face of the Czech Avant-garde This paper considers the unique position of Futurism in Czech culture and examines the current view that Futurism did not make any inroads into Czech literature. It questions the established literary-historical 'labels' and seeks to uncover the often negated role that Marinetti's movement played in the formation of the Czech avant-garde.

In doing so, the author demonstrates that although Futurism did not have a conspicuous public presence, it nevertheless did have an important influence on the Czech avant-garde and was a major element in the artistic programmes of S. The third section analyses the reception Marinetti was given when he visited Bucharest in Similarities and Differences Zenitism was an avant-garde movement centred on the Balkans, with roots in Expressionism, Cubism, Futurism, Dadaism, Constructivism, Suprematism, Surrealism and a socially committed art for the people.

This stood in marked contrast to the then dominant ideology of the Europeanization of the Balkans by means of classical and modernist culture.

Zenitism incorporated many Futurist elements such as dynamism, simultaneity, fragmentation, machine cult, etc. Encounters with secondo futurismo The essay provides an insight into the hitherto largely unknown contacts of Latvian artists with Futurism. These are outstanding pages in the history of Latvian Classical Modernism characterized by the artists' direct contacts with the avant-garde, participation in the artistic life of Germany and Italy, creative impulses, concrete artworks and publications.

Ruggero Vasari and the Shifting Coordinates of Futurism in Eastern and Central Europe This essay analyses the international alliances established by Ruggero Vasari, the leader of the section of the Italian Futurist movement in Berlin, with several artists and intellectuals active in the German capital at the time, such as Ivan Puni, Karlis Zale, Viktor Shklovsky and Viking Eggeling.

It concludes by outlining the repercussions that this large avant-garde network had on the fate of Vasari's own activity as a dramatist. Sparsi tra le righe potranno evincersi i tasselli che lo rappresentano.

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