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Books > Arts & Architecture > History of art / art & design styles > From 1900
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2017 (Hardcover)
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2017 (Hardcover)
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Futurism Studies in its canonical form has followed in the steps of
Marinetti's concept of Futurisme mondial, according to which
Futurism had its centre in Italy and a large number of satellites
around Europe and the rest of the globe. Consequently, authors of
textbook histories of Futurism focus their attention on Italy, add
a chapter or two on Russia and dedicate next to no attention to
developments in other parts of the world. Futurism Studies tends to
sees in Marinetti's movement the font and mother of all subsequent
avant-gardes and deprecates the non-European variants as mere
'derivatives'. Vol. 7 of the International Yearbook of Futurism
Studies will focus on one of these regions outside Europe and
demonstrate that the heuristic model of centre - periphery is
faulty and misleading, as it ignores the originality and
inventiveness of art and literature in Latin America. Futurist
tendencies in both Spanish and Portuguese-speaking countries may
have been, in part, 'influenced' by Italian Futurism, but they
certainly did no 'derive' from it. The shift towards modernity took
place in Latin America more or less in parallel to the economic
progress made in the underdeveloped countries of Europe. Italy and
Russia have often been described as having originated Futurism
because of their backwardness compared to the industrial
powerhouses England, Germany and France. According to this
narrative, Spain and Portugal occupied a position of
semi-periphery. They had channelled dominant cultural discourses
from the centre nations into the colonies. However, with the rise
of modernity and the emergence of independence movements, cultural
discourses in the colonies undertook a major shift. The revolt of
the European avant-garde against academic art found much sympathy
amongst Latin American artists, as they were engaged in a similar
battle against the canonical discourses of colonial rule. One can
therefore detect many parallels between the European and Latin
American avant-garde movements. This includes the varieties of
Futurism, to which Yearbook 2017 will be dedicated. In Europe, the
avant-garde had a complex relationship to tradition, especially its
'primitivist' varieties. In Latin America, the avant-garde also
sought to uncover and incorporate alternative, i.e. indigenous
traditions. The result was a hybrid form of art and literature that
showed many parallels to the European avant-garde, but also had
other sources of inspiration. Given the large variety of indigenous
cultures on the American continent, it was only natural that many
heterogeneous mixtures of Futurism emerged there. Yearbook 2017
explores this plurality of Futurisms and the cultural traditions
that influenced them. Contributions focus on the intertextual
character of Latin American Futurisms, interpret works of
literature and fine arts within their local setting, consider modes
of production and consumption within each culture as well as the
forms of interaction with other Latin American and European
centres. 14 essays locate Futurism within the complex network of
cultural exchange, unravel the Futurist contribution to the complex
interrelations between local and the global cultures in Latin
America and reveal the dynamic dialogue as well as the multiple
forms of cross-fertilization that existed amongst them.
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