Futurism and the

110 years have passed since the first sensational publication of the Futurist Manifesto drawn up by F.T.Marinetti, poet, writer and brilliant communicator. A literally forerunner document that inaugurated a disruptive and unprecedented mode of communication for the culture of that period. For a long time wrongly considered fruit and subject of mere political propaganda or deceptive literary slag assimilable to the nascent form of today's advertising, it still represents a novelty before other forms of European avant-garde. Precisely in virtue of the very essence that led to its birth: a look beyond time for a perennially futuristic overall vision to the total challenge of eternity.

2Picture Media loves Futurism

Therefore, precisely by virtue of the same essence that characterizes and identifies our agency, the number replaces the letters just as the noise of modernity overlaps, overhangs or composes the music itself, the soundtrack of human evolution. The myth of speed, the stridency of metal, of the ultramodern. The sound is corrupted by the non-sound, by the clanging of the mechanics. Anarchy of mathematics, music becomes obsolete in the face of the mighty roar that pervades and identifies modern society. Then, still today and forever. In the continuous search for dynamism, where the subject is in constant motion and the viewer is never made passive but turns out to be wrapped up, witness of an action represented during its development.

Experimental plan 1

With the possibility coming and beyond the contingent reality arises Futurist music, which we were able to hear on the occasion of the exhibition held at the Allegra Ravizza Art Gallery which presented the Experimental Plan 1 of Futurist Music. It is a project based on historical and artistic research carried out within the immense archive of music composed after 1909 according to the criteria of Futurism. A true declaration of intent, a different option and a predilection for the development of thematic paths obtained by dissecting a historical documentation that contains the most important works of the XX° century's art. For a complete evolutionary development of the individual and collective conscience we cannot to do without continuing to hear his echo in our contemporaneity.

Music vs Noise

The most intangible of topics and at the same time the most present and intrusive in our society. Almost as much as plastic, whose invention seemed to have revolutionized human evolution in a positive way. Element that we could recycle, use again, make new life transforming it into Futurist and Futurable material. But that out of laziness or ignorance or simple economic reasons we carefully avoid doing. Instead, we have been able to recycle the noise, make it usable, assimilate it so as not to be defeated since the nineteenth century when the industrial revolution was invented. Later sublimated by the roar of speed and by the vetustity still embodied by the internal combustion engine, to which we have completely entrusted our lives. We therefore only have to admire and listen to the genius of authors such as Francesco Balilla Pratella, Luigi Russolo, Franco Casavola and Silvio Mix whose works are contained in the archive that was presented in this collection. Their intuitions, researches and compositions still influence our perception and our existence at this level that denying the evidence would represent a form of regression instead of progress.

2Picture Media has had the kind permission to film and document the event, on the occasion of the relocation of this sort of multimedia archive of Futurism, to which its creator and curator, Allegra Ravizza from " Galleria Allegra Ravizza" refers familiarly with the name of "The detonator" (this because of its explosive artistic content) from Lugano to Villa Ca 'Amata,. The result of which we are pleased to show you below with some archive photos.