2col   1 Balla  Form…

Giacomo Balla (1871–1958), “Form-Spirit Transformation,” 1917, oil on canvas.

FOR 9/7

‘PIETY AND PRAGMATISM’ TRACES FUTURISM AT LONDON’S ESTORICK COLLECTION SEPT. 26 w/1cut

avv/gs set 8/23 #710049

LONDON — An exhibition tracing the evolution of Futurism’s fascinating and complex attitude toward spirituality, “Piety and Pragmatism: Spiritualism in Futurist Art” will be on view at the Estorick Collection of Modern Italian Art, Wednesday, September 26, to Sunday, December 23.

The exhibit will include 45 works by such artists as Giacomo Balla, Gerardo Dottori, Fillia and many others. From Marinetti’s preaching of a “religion of speed” in 1916 to the formulation of an arte sacra futurista (Futurist sacred art) in the 1930s, “Piety and Pragmatism” examines the social, political and ideological dimensions of the movement’s stance on all things metaphysical.

F.T. Marinetti’s “Manifesto of Futurist Sacred Art” dates from 1931. Given the previous hostility of his movement toward the institution of the Catholic Church and its rejection of Christian concepts of morality, this text and the works it inspired perhaps required more explanation than some of the other documents of Italian Futurism.

The movement had addressed the question of spirituality from its early years, yet promoted values very different to those of Catholicism.

Futurism’s sustained, bitter attacks against the Church had their roots in the anticlerical traditions of the Nineteenth Century movement for national renewal known as the Risorgimento — a fundamental goal of which was the territorial unification of the peninsula.

The two most prolific and significant creators of Futurist sacred art were Fillia — the pseudonym of Luigi Colombo (1904–36) — and Gerardo Dottori (1884–1997).

Although he had long been concerned with the spiritual aspects of artistic creation’ Fillia’s interest in specifically religious themes dated from 1930, and the following three years witnessed his most intense activity, stimulated by large exhibitions at Padua in 1931, La Spezia in 1932 and Florence in 1933. Dottori’s interest in religious iconography can be documented from the late 1890s, although his first recognizably Futurist works date from the early 1920s.

This exhibition will trace the evolution of Futurism’s complex attitude toward spirituality. The central nucleus will be those works created during the early 1930s in accordance with the principles of the “Manifesto dell’arte sacra futurista” by artists such as Alessandro Bruschetti, Gerardo Dottori, Mino Delle Site, Fillia, Giuseppe Preziosi, Bruno Tano, Ernesto Thayaht and Wladimiro Tulli. Historical documents such as Futurism’s political and artistic manifestos will also be on display, and information panels will provide a comprehensive overview of the period.

The catalog, published by Gangemi Editore, will include a significant number of Futurist documents previously unpublished in English concerning the debate surrounding sacred art, the spiritual calling of the artist and the political views of the Futurists.

Estorick Collection of Modern Italian Art is at 39a Canonbury Square.

For information, +44 (0)20 7704 9522 or www.estorickcollection.com.