Table Of ContentInternational Yearbook of Futurism Studies
International Yearbook
of Futurism Studies
Edited by
Günter Berghaus
Editorial Board
Matteo D’Ambrosio · Marjorie Perloff · Irina Subotić ·
Jorge Schwartz
Contributing Editors
Emilia David · Matteo Fochessati · Rubén Gallo ·
Roger Griffin · Benedikt Hjartarson · Chris Michaelides ·
Przemysław Strożek · Pierantonio Zanotti
International Yearbook
of Futurism Studies
Open Issue
Edited by
Günter Berghaus
With the assistance of Mariana Aguirre, Selena Daly,
Sze Wah Lee, Renée M. Silverman
Volume 4
2014
ISBN 978-3-11-033400-5
e-ISBN 978-3-11-033410-4
epub-ISBN 978-3-11-036790-4
ISSN 2192-0281
Library of Congress Cataloging-in-Publication Data
A CIP catalog record for this book has been applied for at the Library of Congress.
Bibliografic Information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie;
detailed bibliographic data are available in the Internet at
http://dnb.dnb.de.
© 2014 Walter de Gruyter GmbH, Berlin/Boston
Typesetting: Johanna Boy, Brennberg
Printing and Binding: CPI buch bücher.de GmbH, Birkach
∞ Printed on acid-free paper
Printed in Germany
www.degruyter.com
Contents
Editorial IX
Section 1: Critical responses to Exhibitions, conferences
and publications
Jessica Palmieri
The Legacy and Topicality of Futurism: A Conference in Rome,
11–12 April 2013 3
Andrei Ustinov
The Centenary of 1913, or Russian Futurism ‘as such’: A Conference at the
University of Geneva on 10–13 April 2013 7
Sara Afonso Ferreira and Sílvia Laureano Costa
Almada Negreiros: A Futurist Poet, and Much More. International Symposium at
the Calouste Gulbenkian Foundation in Lisbon, 13–15 November 2013 21
Barbara Meazzi
La poética de la vanguardia 27
Günter Berghaus
Sound and Silence in Futurist Poetry 31
Luigi Marinelli
Marinetti i futuryzm w Polsce 36
Günter Berghaus
Action / Reaction: Futurism in Belgium and Europe 44
Günter Berghaus
Futurism and Modernist Magazines 49
Günter Berghaus
New Research into Anarchism and Futurism 61
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VI Contents
Section 2: Research Reports on Countries and Artistic
Disciplines
Willard Bohn
French Research on Literary Futurism 71
Section 3: Caricatures and Satires of Futurism in the
Contemporary Press
Irene Chytraeus-Auerbach
A “Hypermodern” Futurist in the Munich Satirical Magazine, Fliegende Blätter
(1912) 87
Juan Herrero-Senés
A Caricature of Futurism in the Spanish Magazine, Buen Humor (1923) 91
Luca Somigli
The Futurist Exhibition at the Sackville Gallery (1912) and Charles Harrison’s
Caricature, “The New Terror” 95
Chikako Takaoka
A Japanese View on Futurism in 1922 in the Daily Newspaper
Kokumin Shimbun 99
Oleg Minin
The Reception of Russian Futurism through Satire: The Case of the 1913 Mishen’
Debate 103
Ara H. Merjian
A Caricature of Futurism in the New York Sun (1914) 107
Przemysław Strożek
Marinetti’s Visit to Cairo in December 1929: Kimon Evan Marengo’s caricatures
in Maalesh 111
Contents VII
Section 4: Futurism Studies
Tatiana Cescutti
The Reception of Futurism in France (1909–1912) 117
Patrick Suter
Mallarmé and His Futurist ‘Heir’ Marinetti 134
Ton van Kalmthout
Futurism in the Netherlands, 1909–1940 165
Natalia Murray
No Future for the Futurists? Art of the Commune and the Quest for a New Art
in Post-Revolutionary Russia 202
Tomaž Toporišič
The New Slovene Theatre and Italian Futurism: Delak, Černigoj and the
Historical Avant-garde in Venezia Giulia 230
Krikor Beledian
Kara-Darvish and Armenian Futurism 263
Pál Deréky
The Reception of Italian Futurism in Hungarian Painting and Literature 301
Patricia Peterle and Aline Fogaça
The Reception of Italian Futurism in Brazilian Periodicals: 1909, 1922
and after 328
Hanno Ehrlicher
Bartolomé Galíndez’s Magazine, Los raros: A ‘Symbolist’ Fusion of Futurism
and Ultraism 360
Daniele Corsi
Futurist Influences in the Work of Guillermo de Torre 389
Elissavet Menelaou
The Reception of Futurism in Greece and Marinetti’s Visit to Athens
(1933) 421
VIII Contents
Marina Bressan
Theodor Däubler: A Mediator between Florentine Futurism and German
Modernism 450
Laura Moure Cecchini
Photodynamism and Vortography: The Futurist Anti-Portraits of Anton Giulio
Bragaglia and Alvin Langdon Coburn 477
Section 5: Bibliography
Günter Berghaus
A Bibliography of Publications on Futurism, 2011–2013 507
Section 6: Back Matter
List of Illustrations and Provenance Descriptions 537
Notes on Contributors 541
Name Index 547
Subject Index 583
Geographical Index 609
Günter Berghaus
Editorial
With this volume, the International Yearbook of Futurism Studies goes into its
fourth year. As before, there has been no lack of manuscript offers, which seems
to indicate that research into the international dimension of Futurism is vigorous
and flourishing on many continents. Unfortunately, we were unable to publish all
essays that reached the editorial board, either as drafts in the original language
or in translation. We are hoping that some of these will appear in one of the next
issues, which will have a special focus on Women artists and Futurism (2015),
Futurism in Northern countries (2016) and Futurism in Latin America (2017).
2009 was the official birth of the Futurist movement, and we reported on the
plethora of centenary celebrations in Yearbook 2011. As readers will notice in the
first section of this volume, 2013 was an occasion for another centenary, namely
that of Russian Futurism. Although in Russia, Futurism developed in several
stages, and its origins cannot be dated as precisely as the Foundation and Mani-
festo, which Marinetti published in 1909. There are, nonetheless, good reasons,
as Andrei Ustinov explains, for considering 1913 a particularly fertile ‘founda-
tional’ year.
As it happened, the only Russian essay in this volume (Natalia Murray’s “No
Future for the Futurists? Art of the Commune and the Quest for a New Art in Post-Rev-
olutionary Russia) focusses on the second phase. It thus complements Lynn C.
Purkey’s essay in Yearbook 2013, “Nuevo Romanticismo and Futurism: Spanish
Responses to Machine Culture”, which also concerned itself with the 1920s. I do
not want to summarize at this point all individual essays that have been included
in this annual for 2014, as each contribution has been furnished with an abstract at
its head. Suffice it to state that also this Yearbook is divided into sections, the first
of which is concerned with reviews of some recent publications and conferences.
We are then again offering a country focus, this time on France. While Willard Bohn
highlights the critical reception of Futurism in France after 1945, Tatiana Cescutti
focusses on the special relationship that Marinetti and some of his colleagues
entertained with Italy’s ‘Latin sister nation’ in the period 1909–12.
As a new feature that will be repeated in future editions we are introducing
a section on Futurism satirized in the contemporary press. Not enough attention
has been paid, in my view, to these often hilarious and certainly very incisive
observations on diverse features of Futurism and its leader, F. T. Marinetti.¹ I am
1 Some laudable exceptions are Marta Sironi’s essay, “Arte e anarchia: Futuristi e suffragette a
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X Günter Berghaus
still looking for further examples that would fit into the next volume on women
artists and Futurism. I would therefore encourage readers to send us suitable
examples by September 2014.
The section “Futurism Studies” has gone through a number of changes since
a provisional Table of Contents was first announced in autumn 2012. Unfortu-
nately, several essays did not make the transition from abstract or draft into an
8,000-word English-language essay. Of the over twenty essays offered we made
a selection that provides variety and offers insights into aspects of international
Futurism not, or not enough, known in the academic world. The bibliographic
section is briefer than in previous volumes. It seems that after the bumper year
2009 (or, rather, 2010–11 when the many volumes of conference proceedings
appeared in print) a state of exhaustion has been reached, certainly as far as
Italian Futurism is concerned. The number of exhibitions of Futurist artists in
2013 fell by a good eighty per cent, and in terms of catalogues there was a drop
from 160 in 2009 to 17 in 2013.
Some reader may remember what I wrote about the 2009 centenary:
With so many museums chasing so few masterpieces, galleries certainly faced an enor-
mous challenge. Repeatedly, curators failed to rise to the task of presenting a meaningful
and cohesive assessment of the achievements and failings of Marinetti’s movement. Their
shows did not have any well thought-out concepts and often looked like random selections
of ‘left-overs’ deemed suitable for illustrating key aspects of Futurism. With some more
advance-planning and some less caving in to sponsors’ demands such arbitrariness could
have been avoided.²
I am glad to be able to report that in 2010, when most of the paintings had
returned to their museum walls or stores, the Guggenheim Museum in New York
began with the advance-planning of a comprehensive Futurism show that could
not be assembled in 2009. Having learned from the many blunders of 2009, they
decided to institute an advisory board of international Futurism experts and to
plan a comprehensive exhibition that would cover the years 1909–44 and the full
spectrum of artistic disciplines in which Futurism played an active rôle. The show
Londra.” L’uomo nero: Materiali per una storia delle arti della modernità 1:2 (June 2004): 39–65;
Iuliia Borisovna Demidenko’s exhibition catalogue, “Pour épater les bourgeois...”: Futurizm gla-
zami obyvatelei. Sankt-Peterburg: Muzeia peterburgskogo avangarda, 17. Mai – 26. Avgust 2012;
and Andrei Rossomakhin’s recent paper in Geneva, “Futurizm 1913 goda skvoz' prizmu parodii
i karikatur.”
2 Günter Berghaus: “A Bibliography of Publications Commemorating 100 Years of Futurism.”
International Yearbook of Futurism Studies 1 (2011), p. 410.
