The grand (and debated) exhibition on Futurism has opened in Rome

The National Gallery of Modern and Contemporary Art in Rome celebrates the 80th anniversary of Filippo Tommaso Marinetti’s death, which occurred on December 2, 1944, with the exhibition The Time of Futurism, curated by Gabriele Simongini.

The exhibition features around 350 works, including paintings, sculptures, projects, drawings, furniture, films, and over a hundred books and manifestos. A unique focus is placed on the literary roots of the Marinetti-led movement, along with items like a seaplane, motorcycles, and period scientific instruments. The display boasts prestigious loans from Italian and international museums, such as MoMA and the Metropolitan Museum in New York, the Estorick Collection in London, and the Kunstmuseum Den Haag in The Hague.

This inclusive, educational, and multidisciplinary exhibition emphasizes the relationship between art, science, and technology, illustrating the “complete renewal of human sensitivity brought about by major scientific discoveries” that fueled the birth of Futurism. A significant highlight is the concept of speed and modernity, represented innovatively by the rare presence of an authentic vintage car displayed in one of the galleries.

The Time of Futurism - see the exhibition in Rome

While the Gallery already hosts numerous Futurist works in its permanent collection, the exhibition elevates this narrative. The art of Umberto Boccioni, the group’s leading figure, stands out, captivating visitors with his exploration of psychic and emotional expression through a gradual loss of objectivity, favoring rapid lines and vibrant colors. This is evident in the abstract motion of Horse + Rider + Building, a chromatic shard vividly portraying the animal’s gallop, or in the profound introspection of the intense Triptych of States of Mind.

The exhibition also features Gerardo Dottori’s aeropainting, Giacomo Balla’s photographic analysis of motion, Fortunato Depero’s dynamic, almost advertisement-like lines, and Luigi Russolo’s attempts to capture sound and music in painting—a kaleidoscope of innovative ideas and artistic experiments ahead of their time.

In conjunction with the exhibition, Casa Balla, the Futurist home of the artist, reopens to the public. Everything in the home—from furnishings to floors—embodies the lines, colors, and stylistic concepts of the avant-garde movement.

The exhibition is further enriched by two site-specific installations by Magister Art and Lorenzo Marini. A program of cultural activities with educational purposes, organized by the Magna Carta Foundation, adds vibrancy, alongside scientific objects on loan from the Leonardo da Vinci National Museum of Science and Technology. The event is complemented by a comprehensive catalog to be published by Treccani.