Fundación Proa - Auditorium » The Universe of Futurism. 1909 – 1936

International Colloquium The Universe of Futurism: Day 1

Thu, 24 Jun 2010 15:42:11 +0000

The International Colloquium begins with 57 participants and the presence of both international and local researchers and scholars such as Giovanni Lista, Juan Manuel Bonet and Jorge Schwartz.

The aim of the Colloquium is to debate and reflect on the influence of Futurism, its contemporary vision and examine this movement from our reality.

This event takes place on Thursday 24th and Friday 25th of June 2010 with the following program:

Rodrigo Alonso. “La utopía tecnológica del futurismo”
Pablo Gianera. “La conquista del ruido”
Juan Manuel Bonet. “Ramón Gómez de la Serna, Guillermo de Torre, Ernesto Giménez Caballero: tres españoles y Marinetti”
Giovanni Lista. “Ideas, temas y desarrollo del futurismo italiano”
Gonzalo Aguilar. “Maquinarias, marconigramas y otros cachivaches jadeantes: el futurismo en Latinoamérica”
Cecilia Rabossi. “Filippo T. Marinetti en Argentina”
Jorge Schwartz. “Marinetti en el Brasil, 1926”

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The International Colloquium The Universe of Futurism is supported by the Italian Cultural Institute in Buenos Aires, the CCEBA, and is produced and organized by Fundación Proa

International Colloquium The Universe of Futurism

Tue, 01 Jun 2010 22:34:29 +0000

GIOVANNI LISTA – JUAN MANUEL BONET – JORGE SCHWARTZ – GONZALO AGUILAR – RODRIGO ALONSO – SERGIO BAUR – PABLO GIANERA – CECILIA RABOSSI

June 24 and 25th, 2010. From 11 AM to 6 PM
All participants will receive a certificate of attendance.

The deadline for submission is June 14, 2010: For the submission process, candidates will be asked to download the form. It should be completed and sent to coloquio@proa.org

Registration and Guidelines
The Speakers

The International Colloquium The Universe of Futurism, organized within the frame of the exhibition The Universe of Futurism. 1909-1936, invites noted researchers and futurist scholars, continuing with all activities developed throughout the exhibition. The Colloquium will be held on Thursday 24th and Friday 25th of June 2010 in Fundación Proa’s Auditorium from 11 AM to 6 PM. Participants are required to attend the entire colloquium and will receive a certificate of attendance.

The Colloquium will expand on several topics: the revision of Futurism through new investigations; in depth analysis of interdisciplinary characteristics; study of its international reach, and will invigorate the discussions on the intrinsic problematic of modern and contemporary art. Furthermore, there will be an emphasis on the presence of Futurism in the South American artistic field and Filippo Tommaso Marinetti’s visits during the 20s and 30s.

International Speakers
Giovanni Lista, researcher and curator specialized on Futurism, will dictate a contemporary and fresh panorama of Futurism and its interdisciplinary character.
Juan Manuel Bonet, renowned researcher and curator, will give an overview on the internationalization of the movement throughout Europe.
Jorge Schwartz, a reference on the contemporary revision of the Latin American avant-guards, will offer a solid overview of Futurism in Latin America and Marinetti’s visit to Brazil.

Gonzalo Aguilar, Rodrigo Alonso, Pablo Gianera, Sergio Baur and Cecilia Rabossi, coordinator of the event, will participate in conjunction with the speakers. They will present a historical overview of Buenos Aires, its fervent cultural life and Marinetti’s visits during the 20s and 30s.

The International Colloquium The Universe of Futurism is supported by the Italian Cultural Institute in Buenos Aires, the CCEBA, and is produced and organized by Fundación Proa

Registration and Guidelines

The Colloquium is intended for specialists, teachers and advanced students. It will offer Spanish-Italian simultaneous translation.
Limited capacity. Candidates should submit their objectives and written intention for participation, and are required to attend the entire colloquium.
For the submission process, candidates will be asked to download the form. It should be completed and sent to coloquio@proa.org

The deadline for submission is June 14, 2010.
Acceptance will be informed via e-mail until June 18th.
Participants are required to attend the entire colloquium. All participants will receive a certificate of attendance.

The Speakers

Giovanni Lista
Lives in Paris since 1969, where he works as Director of the Investigation Department of Social Sciences in the CNRS (National Center of Scientific Investigations). Author of many publications, especially within the visual art field, theatre, and the cultural work of the historical avant guards of the first half of the twentieth century. In 2009, celebrating one hundred years of Futurism, he organized the renowned exhibition “Futurismo 1909-2009: Velocitá+Arte+Azione” in the Palazzo Reale, Milan.
Since 1988, he directs the Ligeia, expedientes sur l’art magazine and collaborated with the organization of important international exhibitions in Paris, Milan, Rome, Monaco, Tokyo, Dortmund, London, Madrid, New York, among others.

Juan Manuel Bonet
Writer and art critic, Bonet was born in Paris in 1953. He directed IVAN and The National Museum Art Center Reina Sofía. He works as a consultant for the European contemporary painting collection of the Fundación Bencaja. Curated several exhibitions, such as “El surrealismo entre Viejo y Nuevo Mundo”, “El objeto surrealista en España”, “El poeta como artista”, “España años 50″ and “Los indalianos. Una aventura almeriense”, among others. Published Diccionario de las vanguardias en España (1907-1936), important scholarly articles on Juan Gris and Gerardo Rueda, several poetry books, and La ronda de los días. Author of several critical book editions on Ramón Gómez de la Serna, Rafael Cansinos-Asséns, Rafael Lasso de la Vega, Saulo Torón, Salvador Dalí, Max Aub, Carlos Baylín Solanas and Manolo Millares.

Jorge Schwartz
Director of Museu Lasar Segall (São Paulo), head professor of Hispanic Literature at the Universidad de São Paulo, Brazil. Author of investigations on Oswald de Andrade, Oliverio Girondo and the Latin American avant guards. Coordinator and producer of the book Borges no Brasil, la Caixa modernista (São Paulo, Imprensa Oficial, 2003) and curator of the exhibitions “De la antropofagia a Brasilia: 1920-1950″ (Instituto Valenciano de Arte Moderno, 1998, and FAAP-São Paulo, 2000), “Xul/Brasil: imaginários em diálogo” (São Paulo: Pinacoteca do Estado, 2005), “Horacio Coppola: visões de Buenos Aires” (Río de Janeiro, Instituto Moreira Salles, 2007), “Horacio Coppola: fotografía” (Madrid, Fundación Telefónica, 2008) and “Os sonhos de Grete Stern: fotomontagens” (São Paulo, Museu Lasar Segall, 2009), among others.

Gonzalo Aguilar
Is professor of Brazilian Literature at the University of Buenos Aires. Author of La poesía concreta: las vanguardias en la encrucijada modernista (2003), translated to portuguese, Otros mundos (Un ensayo sobre el nuevo cine argentino) (2006) and Episodios cosmopolitas en la cultura argentina (2009). He was a guest professor at San Pablo University, Stanford and Harvard. In 2005 he received the Guggenheim Scholarship. Currently works as researcher for the National Council of Scientific and Technical Investigations in Buenos Aires (CONICET).

Rodrigo Alonso
Has a Bachelor in Arts from the University of Buenos Aires, specialized in contemporary and new media art. Professor at UNTREF, USAL and IUNA, member of the Advisory Committee Curatorial and New Media art practices at MECAD (Barcelona). Guest professor at important Latin American and European universities. Co-director for the Interactive Art workshop at Espacio Fundación Telefónica. His recent exhibitions include: Nuestra Hospitalidad (Espai d’Art Contemporani); Resplandores. Poéticas analógicas y digitales (C.C. Recoleta); Tensiones públicas. Utopías domésticas (C.C. Marcelo Patiño); Telefonías (Fundación Telefónica), El futuro ya no es lo que era (Fundación OSDE). Writer, critic and collaborator for books, art magazines and exhibition catalogues.

Pablo Gianera
Is music and literature critic. Professor at the Music Superior Conservatory Manuel de Falla. Works for the cultural magazine ADN, La Nación newspaper. Member of the Board of Directors for the Diario de Poesía. Published several articles in specialized publication in Argentina and Spain. Author of Formas Frágiles, book of musical essays to be released during the current year.

Sergio Baur
Curator of the exhibition “El Periódico Martín Fierro: En las artes y en las letras” (MNBA, 2010). Historian, diplomat and member of the Council of the Museo Nacional de Bellas Artes in Buenos Aires.-

Cecilia Rabossi
Bachelor of Arts from the Faculty of Philosophy and Literature in the University of Buenos Aires (UBA). Researcher for the Institute of Theory and History of Art “Julio E. Payro” (FFyL-UBA) and member of the Argentinean Art Critics Association (AACA). As an independent curator, she conducts research projects, exhibition production and curator activities within the visual art field and for several national and international institutions. Her research projects include “Jorge Romero Brest y la crítica de arte en América Latina: Introducción y descentramiento del paradigma modernista en el debate de posguerra” and the project “Exposiciones de arte argentino, 1960-2002. El rol del museo y las exhibiciones en la escritura de la historia”. In 2010, she was invited by Fundación Proa to investigate on the travels of Marinetti to South America for “The Universe of Futurism. 1909-1936″ exhibition.

Futurist Cinema Marathon

Wed, 26 May 2010 23:04:56 +0000

Sunday 30th May, 2.00 – 8.00 pm

Admission: $ 10
auditorio@proa.org
More information >>

Program:
2.00 pm:
Come Cretinetti paga i debiti. André Deed. 1910, 6′
Come fu che l’ingordigia rovino il natale di Cretinetti. André Deed. 1910, 11 ‘
Amor Pedestre. Marcel Fabre. 1914, 8′
Das Stahltier. Willy Zielke. 1935, 15′
L’Uomo meccanico . André Deed . 1921, 25′
Pacific 231 . Jean Mitry . 1949, 12 ‘

3.30 pm:
Velocità (Vitesse). Tina Cordero, Guido Martina, Pippo Oriani. 1930, 16′
Ballet mécanique. Fernand Léger, Dudley Murphy . 1923,18′
Jeux des reflets et de la vitesse. Henri Chomette. 1933, 7′
Thais. Anton Giulio Bragaglia. 1916, 35 ‘

5.00 pm:
Come Cretinetti paga i debiti. André Deed. 1910, 6′
Come fu che l’ingordigia rovino il natale di Cretinetti. André Deed. 1910, 11 ‘
Amor Pedestre. Marcel Fabre. 1914, 8′
Das Stahltier. Willy Zielke. 1935, 15′
L’Uomo meccanico . André Deed . 1921, 25′
Pacific 231 . Jean Mitry . 1949, 12 ‘

6.30 pm:
Velocità (Vitesse). Tina Cordero, Guido Martina, Pippo Oriani. 1930, 16′
Ballet mécanique. Fernand Léger, Dudley Murphy . 1923,18′
Jeux des reflets et de la vitesse. Henri Chomette. 1933, 7′
Thais. Anton Giulio Bragaglia. 1916, 35 ‘

Films synopsis

Amor Pedestre (Love afoot), 1914. Dir. Marcel Fabre. 10′
Illustrates the story of an accidental love triangle from a peculiar point of view: the feet. During his morning walk, Robinet (main character played by Fabre himself) encounters a young girl and decides to court her. Despite her rejecting him, Robinet slips a note on his shoe imploring to meet him later on. Back home, the note slips out of her shoe and is found by her angry husband who decides to show up at the date to meet Robinet.

Ballet mécanique (Mechanic ballet), 1923. Dir. Fernand Léger and Dudley Murphy. 14 ‘
Is a caleidoscope of images paired up with an electric soundtrack. The film accounts for a constantly moving world dominated by mechanic and repetitive images combined with moments of solitude spent in a garden. A young girl swings in a garden; another girl smiles. The takes alternate rotating cylinders, turbines, and kitchen objects arranged in a concentric form. Over and over again, a woman climbs a flight of stairs carrying a bag over her shoulder. An art-deco figure appears, dancing.

Come Cretinetti paga i debiti (How Foolshead pays his debts), 1909. Dir. André Deed. 6’
Interpreted by director André Deed, Cretinetti (Foolshead) is the main character in a series of entertaining futurist short films; in which this buffoon sets himself to destroy everything that steps in his way. This time, Cretinetti is a compulsive debtor, persecuted by collectors that invade his apartment floor forcing him to pay his debts. The film focuses on Foolshead’ s adventures when he tries unsuccessfully to get rid of them and escape the law.

Come fu che l’ingordigia rovinò il Natale a Cretinetti (Foolshead’s Christmas), 1910. Dir. André Deed. 11’
In this take of André Deed’s comic saga, Cretinetti gets in trouble when he tries to post his Christmas party invitations in the mail. Because of him taking so long, a furious crowd waiting in line behind him calls the police to kick him out. Cretinetti purchases a tree to attack a public building and clumsily sets it on fire. He walks back to his house with the blazing tree where his family and friends await.

Das Stahltier (The Steel animal), 1935. Dir. Willy Otto Zielke. 15’
The railway workers wait outside for the factory doors to open and for another workday to begin. Inside, engineer Klaassen staid overnight working on some drafts for a new locomotive. As a result of the team’s hard work, the project comes together and Klaasen gets a promotion. Before leaving for his job, he meets up with his co-workers and has second thoughts regarding his decision. Their conversation revolves around the stories of the evolution of the railway industry and its pioneers.

Jeux des reflets et de la vitesse (Games on reflection and speed), 1933. Dir. Henri Chomette. 6’
Captures the impressions on the city of Paris; experimenting with light and movement through the camera lens.

L’Uomo meccanico (The mechanic man), 1921. Dir. André Deed. 24′
This film is a parody of serials; more precisely of one: “Master Mystery”, a thriller premiered a year before. Driven by an evil but beautiful women, the mechanic man tears down doors and walls obsessed with destroying everything that sets in its way. Saltarello, a marginal but loveable character that spends his time escaping the police, fights him. Scenes like the one where the robot persecutes a car or the duel between two robots which ends with dancing, have a very kitsch sense of humour.

Pacific 231 , 1949. Dir. Jean Mitry. 12′
Pacific 231 is both the name of the leading role locomotive and the critic and cinema theorist Jean Mitry’s short film. If the engine is the star of the action, the Swiss French composer Arthur Honegger’s music play is the protagonist of the soundtrack. This particular conjunction of cinema, music and machine produces a masterpiece, given the passion for engines that the director and composer share.

Thaïs, 1916. Dir. Anton Giulio Bragaglia. 54′
Narrates the adventures of Bianca, a “femme fatale” that plays and uses his admirers to satisfy her whims and selfish purposes. The highlight of the film is the final scene: a tragic finale where the heroine is punished for her wrongdoings.

Velocità (Velocity), 1930. Dir. Tina Cordero, Guido Martina, Pippo Oriani. 12 ‘
Captures the city dynamism combining rotating views, whirling machines, articulated mannequins and the homage to several 20th century artists such as Boccioni, Mondrian, Léger and Kandinsky. All these elements are brought together by futurist painter Oriani and the collaboration of writers Cordero and Martina.

Futurist Cinema III

Mon, 17 May 2010 19:17:08 +0000

Duration: 60 minutes

Sunday 23th May, 5.00pm

Ballet mécanique, 1923. Dir. F. Léger y D. Murphy. 18′
Jeux des reflets et de la vitesse, 1933. Dir. H. Chomette. 7′
Thaïs, 1916. Dir. Anton Giulio Bragaglia. 35′

Films synopsis

Ballet mécanique (Mechanic ballet), 1923. Dir. Fernand Léger and Dudley Murphy. 18′
Is a caleidoscope of images paired up with an electric soundtrack. The film accounts for a constantly moving world dominated by mechanic and repetitive images combined with moments of solitude spent in a garden. A young girl swings in a garden; another girl smiles. The takes alternate rotating cylinders, turbines, and kitchen objects arranged in a concentric form. Over and over again, a woman climbs a flight of stairs carrying a bag over her shoulder. An art-deco figure appears, dancing.

Jeux des reflets et de la vitesse (Games on reflection and speed), 1933. Dir. Henri Chomette. 7’
Captures the impressions on the city of Paris; experimenting with light and movement through the camera lens.

Thaïs, 1916. Dir. Anton Giulio Bragaglia. 35′
Narrates the adventures of Bianca, a “femme fatale” that plays and uses his admirers to satisfy her whims and selfish purposes. The highlight of the film is the final scene: a tragic finale where the heroine is punished for her wrongdoings.

Admission: $ 6
auditorio@proa.org
More information >>

Futurist Cinema II

Tue, 11 May 2010 17:03:50 +0000

Duration: 72 minutes

Sunday 16th May, 5.00pm

Pacific 231, 1949. Dir. Jean Mitry. 12′
Velocità, 1930. Dir. T. Cordero, G. Martina, P. Oriani. 35′
L’Uomo meccanico, 1921. Dir. André Deed. 25′

Films synopsis

Pacific 231, 1949. Dir. Jean Mitry. 12′
Pacific 231 is both the name of the leading role locomotive and the critic and cinema theorist Jean Mitry’s short film. If the engine is the star of the action, the Swiss French composer Arthur Honegger’s music play is the protagonist of the soundtrack. This particular conjunction of cinema, music and machine produces a masterpiece, given the passion for engines that the director and composer share.

Velocità, 1930. Dir. Tina Cordero, Guido Martina, Pippo Oriani. 35‘
Captures the city dynamism combining rotating views, whirling machines, articulated mannequins and the homage to several 20th century artists such as Boccioni, Mondrian, Léger and Kandinsky. All these elements are brought together by futurist painter Oriani and the collaboration of writers Cordero and Martina.

L’Uomo meccanico (The mechanic man), 1921. Dir. André Deed. 25′
This film is a parody of serials; more precisely of one: “Master Mystery”, a thriller premiered a year before. Driven by an evil but beautiful women, the mechanic man tears down doors and walls obsessed with destroying everything that sets in its way. Saltarello, a marginal but loveable character that spends his time escaping the police, fights him. Scenes like the one where the robot persecutes a car or the duel between two robots which ends with dancing, have a very kitsch sense of humour.

Admission: $ 6
auditorio@proa.org
More information >>

Futurist Cinema

Fri, 30 Apr 2010 23:01:36 +0000

From May 9th, Sundays 5.00 pm

Accompanying The Universe of Futurism. 1909-1936 exhibition, Proa presents a Futurist Cinema series, that shows the diversity of disciplines experimented by the avant-garde Italian movement, to be held every Sunday from May, 9th at Proa’s auditorium.

auditorio@proa.org / info@proa.org
Admission: $6

May
Sunday 9, 5.00 pm
Come Cretinetti paga i debiti, 1910. Dir. André Deed. 6′
Come fu che l’ingordigia rovinò il Natale a Cretinetti. 1910.
Dir. André Deed. 6′
Amor Pedestre, 1914. Dir. Marcel Fabre. 10′
Das Stahltier, 1935. Dir. Willy Otto Zielke. 15′
L’Uomo meccanico, 1921. Dir. André Deed. 24′

Sunday 16, 5.00 pm
Pacific 231, 1949. Dir. Jean Mitry. 12′
Velocità, 1930. Dir. T. Cordero, G. Martina, P. Oriani. 12′
L’Uomo meccanico, 1921. Dir. André Deed. 24′

Sunday 23, 5.00 pm
Ballet mécanique, 1923. Dir. F. Léger y D. Murphy. 14′
Jeux des reflets et de la vitesse, 1933. Dir. H. Chomette. 6′
Thaïs, 1916. Dir. Anton Giulio Bragaglia. 54′

Sunday 30, 2.00 – 8.00 pm
Futurist Cinema Marathon

The Futurist Cinema

The Futurist Cinema Manifest, signed in 1916, proclaims the movement’s rejection towards both narrative and theatrical language: “The cinema is an autonomous art. The cinema must therefore never copy the stage. The cinema, being essentially visual, must above all fulfil the evolution of painting; detach itself from reality, from photography, from the graceful and solemn. It must become anti-graceful, deforming, impressionistic, synthetic, dynamic, free-wording.”

The series will include an extraordinary selection of films from the first decades of the 20th century. They reveal the futurist artists´s will to disrupt and experiment through diverse disciplines. One of its most distinguished directors, Anton Giulio Bragaglia – also author of the book The New Argentinean theatre – will be present with one of the most relevant works in Cinema history: Thaïs (1916). André Deed (director of buffoon Cretinetti’ s saga) and Marcel Fabre’s Amor Pedestre (1914) will offer a unique outlook on the birth of experimental cinema. The programme will also include a synthesis on the post-war period with films such as Velocità (1930), Pacific 231 (1949) and Das Stahltier (1935), which deal with the exalting views of the modern city, industrial labour and the machine.

Films synopsis

Futurist Concert: Ho veduto volare. Trittico per Boccioni. Only show

Wed, 21 Apr 2010 18:13:22 +0000

Wednesday April 28th, 7:00 pm, at Fundación Proa’s Auditorium
Entrance free of charge. Limited capacity

In the context of The Universe of Futurism. 1909-1936 exhibition and as part of the related activities designed by Proa to document the reach that Italian Futurism has had in the diverse artistic disciplines, Giancarlo Schiaffini’s concert will explore the impact that Luigi Russolo’s Ruidisimo revolution has had on musical composition.

Inspired by the life and work of artist Umberto Boccioni, Schiffiani composes Ho veduto volare, with vocal works by Silvia Schiavoni. This distinguished composition is a synthesis of diverse languages in dialogue: writing, images, voices and the live performance of both musicians. The images are old photographs, paintings and fragments that reflect the thoughts of the movement-action present in Boccioni’s work.

The Futurist concert Ho veduto volare is the first in a series of events that will take place at Fundación Proa in relation to The Universe of Futurism. 1909-1936 exhibition. From May, Proa will present a programme of Futurist cinema and guided tours of the show conducted by Art specialists.

The performer
Giancarlo Schiaffini (Rome, 1942) is a music composer, trombone and tube player. He improvises and plays mainly contemporary music and jazz. He collaborated in different compositions with musicians such as John Cage, Karole Armitage, Luigi Nono and Giacinto Scelsi.

Organization and production
Istituto Italiano di Cultura de Buenos Aires

Information and reservations
auditorio@proa.org / [54 11] 4104 1000

More information on The Futurist Universe. 1909-1936 exhibition >>