The exhibition is the result of an institutional collaboration between Mart, Contemporary and Modern Art Museum of Trento and Rovereto, and Fondazione Magnani-Rocca, curated by Nicoletta Boschiero, author of important essays about Depero, and Stefano Roffi, Foundation's scientific director.
Futurist Depero sides against common models, causing the break with obsolete methods, thanks to a creative work, that needs not only flair, but also time, wisdom, organisation.
Abnegation, paired with will a bit mad, to beyond limits, dictating new rules, continuously changing: the artist still appears as a supplier of wonder.
The exhibition is partitioned in five chapters:
Irredentism and Futurism. From the formation at Elizabethan Royal School to adherence to Futurism.
Magical Theatre. Chant du Rossignol, Balli Plastici, Anihccam.
The Magician's House. Artistic production from design to handicraft.
New York. Depero Futurist House.
Rovereto. Towards the museum
to interpret author's futurist way, analysing his role as experimenter, scenographer, magician, publicist and then master.
The exhibition begins with the artist's first steps in Irredentism and Futurism movement, from his beginning in Rovereto city, to his period in Rome, when, in 1915, he signs, in collaboration with Giacomo Balla, the Manifesto of Futurist Reconstruction of the Universe, which holds the dream of a total art work, which combines all the languages of artistic research.
The Magical Theatre begins with Chant du Rossignol ballet, commissioned in 1916 to Depero by Sergei Diaghilev. Then it continues with Balli Plastici, conceived in collaboration with Gilbert Clavel. Robot's movement on stage is mechanical and stiff, puppets bring back to the values of childhood, dream, play and magic.
In Rovereto,in 1919, after the war, Depero starts to achieve his great dream: to open a Futurist House of Art, specialized in advertising graphic, furnitures, applied art and especially in tapestry. Starting from 1921 the House of Art, thanks to his wife Rosetta Amadori and other workers' support, Depero works intensively, creating an important artistic and varied production.
In 1928, after the successes come thanks National and International exhibitions, Depero and Rosetta moved to New York. Their stay in the United States lasts twentyfour months, from November 1928 until October 1930. Here the artist opens the Depero's Futurist House, a sort of an American branch of the Italian House of Art in Rovereto. After ten years Depero meets again Leonide Massine, Roxy Theatre's art director, who employs Depero as scenographer.
During the '50s, when Depero returns from his travel in the United States, he projects and achieves, with Rovereto Municipality's support, the first Futurist Museum: an uncommon and original consecration of his art.
The exhibition catalogue, edited by Silvana Editoriale, contains essays written by Nicoletta Boschiero, Mauro Carrera, Matteo Fochessati, Alessandro Nigro, Stefano Roffi, notes by Ilaria Cimonetti, and the reproduction of the whole exhibited artworks.
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