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Politisches Manifest von F. T. Marinetti und zugleich Gründungsakt der futuristischen Partei, die 1918 aus der Taufe gehoben wurde, um dem Futurismus eine ideologische Plattform zu verschaffen. Digitale Textausgabe des Originals von 1919, erschienen im Verlag Facchi, Milano.

Futurism (Literary movement)

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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.

Futurism (Art) --- Futurism (Literary movement) --- Cubo-futurism --- Futurism --- Literary movements --- Action in art --- Aesthetics --- Art --- Art, Modern --- Modernism (Art) --- Painting --- Cubo-futurism (Art) --- Post-impressionism (Art)

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The Handbook of International Futurism is the first reference work ever to presents in a comparative fashion all media and countries in which the movement, initiated by F.T. Marinetti in 1909, exercised a particularly noteworthy influence. The handbook offers a synthesis of the state of scholarship regarding the international radiation of Futurism and its influence in some fifteen artistic disciplines and thirty-eight countries. While acknowledging the great achievements of the movement in the visual and literary arts of Italy and Russia, it treats Futurism as an international, multidisciplinary phenomenon that left a lasting mark on the manifold artistic manifestations of the early twentieth-century avant-garde. Hundreds of artists, who in some phase in their career absorbed Futurist ideas and stylistic devices, are presented in the context of their national traditions, their international connections and the media in which they were predominantly active. The handbook acts as a kind of multi-disciplinary, geographical encyclopaedia of Futurism and gives scholars with varying levels of experience a detailed overview of all countries and disciplines in which the movement had a major impact.

Futurism (Art) --- Futurism (Literary movement) --- Cubo-futurism --- Futurism --- Literary movements --- Action in art --- Aesthetics --- Art --- Art, Modern --- Modernism (Art) --- Painting --- Cubo-futurism (Art) --- Post-impressionism (Art)

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The eighth volume of the International Yearbook of Futurism Studies is again an open issue and presents in its first section new research into the international impact of Futurism on artists and artistic movements in France, GreatBritain, Hungary and Sweden. This is followed by a study that investigates a variety of Futurist inspired developments in architecture, and an essay that demonstrates that the Futurist heritage was far from forgotten after the Second World War. These papers show how a wealth of connections linked Futurism with Archigram, Metabolism, Archizoom and Deconstructivism, as well as the Nuclear Art movement, Spatialism, Environmental Art, Neon Art, Kinetic Art and many other trends of the 1960s and 70s. The second section focuses on Futurism and Science and contains a number of papers that were first presented atthe fifth bi-annual conference of the European Network for Avant-Garde and Modernism Studies (EAM), held on 1-3 June 2016 in Rennes. They investigate the impact of science on Futurist aesthetics and the Futurist quest for a new perception and rational understanding of the world, as well as the movement's connection with the esoteric domain, especially in the field of theosophy, the Hermetic tradition, Gnostic mysticism and a whole phalanx of Spiritualist beliefs. The Archive section offers a survey of collections and archives in Northern Italy that are concerned with Futurist ceramics, and a report on the Fondazione Primo Conti in Fiesole, established in April 1980 as a museum, library and archive devoted to the documentation of the international avant-garde, and to Italian Futurism in particular. A review section dedicated to exhibitions, conferences and publications is followed by an annual bibliography of international Futurism studies, exhibition catalogues, special issues of periodicals and new editions.

Futurism (Art) --- Futurism (Literary movement) --- Futurism (Music) --- Music --- Cubo-futurism --- Futurism --- Literary movements --- Action in art --- Aesthetics --- Art --- Art, Modern --- Modernism (Art) --- Painting --- Cubo-futurism (Art) --- Post-impressionism (Art)

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"Man schreit vor Angst und Entsetzen. Diese Bilder sind das Innerste, Erschütterndste, Grandioseste, Unfassbarste, das seit Menschengedenken gemacht worden ist." Der Künstler Hugo Ball (1886-1927) zeigte sich 1913 nach seinem Besuch des Kunstsalons Emil Richter in Dresden wahrhaft überwältigt angesichts der dort ausgestellten Gemälde der Futuristen. Auch andernorts riefen die Künstler Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo und Gino Severini teils heftige Reaktionen hervor. Gegründet wurde die italienische Avantgardebewegung 1909 mit der Veröffentlichung des Manifests Le Futurisme durch den Dichter Filippo Tommaso Marinetti. In der darin aufgestellten Behauptung "Schönheit gibt es nur noch im Kampf. Ein Werk ohne aggressiven Charakter kann kein Meisterwerk sein" wird Gewalt als ideologische Basis der Bewegung bekundet. War die ganzheitliche Erneuerung der Kunst und Kultur Italiens das Ziel der Futuristen, so teilten sie die Überzeugung, dass diese nur auf der (ideellen) Zerstörung tradierter kultureller und gesellschaftlicher Werte gründen könne. Die vorliegende Untersuchung geht dem Ursprung des Themas der Gewalt in den futuristischen Manifesten aus der Geisteshaltung des späten 19. Jahrhunderts nach und analysiert die Art und Weise, wie die futuristischen Künstler das Thema der Gewalt auf ihre bildlichen Werke übertrugen. Reaktionen von Betrachtern wie Hugo Ball werden herangezogen, um zu untersuchen, inwiefern die Kunst im Futurismus als Kommunikationsmittel gesellschaftlicher Forderungen und ästhetischer Inhalte der futuristischen Ideologie eingesetzt wurde. You scream with fear and horror. These pictures are the innermost, the most shocking, the most grandiose, the most incomprehensible, made since time immemorial. "The artist Hugo Ball (1886-1927) was truly overwhelmed in 1913 after his visit to the Kunstsalon Emil Richter in Dresden in view of the paintings of the Futurists exhibited there, Elsewhere, the artists Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo and Gino Severini also caused some violent reactions. The Italian avant-garde movement was founded in 1909 with the publication of the Manifesto Le Futurisme by the poet Filippo Tommaso Marinetti. In the statement made in it "Beauty exists only in the fight. A work without an aggressive character can not be a masterpiece", violence is proclaimed as the ideological basis of the movement. If the holistic renewal of Italian art and culture was the goal of the Futurists, they shared the conviction that this could only be based on the (idealistic) destruction of traditional cultural and social values. The present research explores the origin of the theme of violence in the futuristic manifestos of the late 19th century mentality and analyzes the way futurist artists transferred the theme of violence to their pictorial works. Reactions by observers such as Hugo Ball are used to investigate to what extent art has been used in futurism as a means of communication of social demands and aesthetic content of futurist ideology.

Futurism (Art) --- Painting, Italian --- Art, Italian