3 December - 28 February 2025
The National Gallery of Modern and Contemporary Art hosts the exhibition “The Time of Futurism” from December 3, 2024, to February 28, 2025. This ambitious project, curated by Gabriele Simongini to commemorate the 80th anniversary of Filippo Tommaso Marinetti’s death, explores the profound connections between art, science, and technology through 350 works, documents, and immersive installations.
Marking the 80th anniversary of Filippo Tommaso Marinetti’s death, this exhibition delves deeply into the union of avant-garde artistry and scientific innovation, a hallmark of Futurism from its inception. Curated by Gabriele Simongini and promoted by the Ministry of Culture, the event highlights the Futurists’ extraordinary ability to foresee modernity, forging a fruitful dialogue between artistic expression and technological discoveries.
Staged at the National Gallery of Modern and Contemporary Art from December 3, 2024, to February 28, 2025, the exhibition features an intricate arrangement of 350 works, including paintings, sculptures, designs, drawings, and furniture, complemented by films, books, manifestos, and even an authentic seaplane and vintage vehicles. The result is a multifaceted event designed to captivate scholars, engage the general public, and inspire younger audiences, demonstrating how the Futurist revolution profoundly shaped artistic and cultural sensibilities.
The phrase “The Time of Futurism” is not merely the title of the exhibition but an invitation to contextualize this avant-garde movement within a dynamic historical and social framework. Defined by radical inventions that reshaped the perception of space and time, Futurism, formally launched in 1909 with Marinetti’s Manifesto, immediately championed speed as a stylistic hallmark and the celebration of modernity as an artistic imperative.
The exhibition underscores Futurism’s roots in a diverse array of influences: faith in technical progress, a love for machinery, and a passion for linguistic and visual experimentation. Early 20th-century scientific and technological advancements, such as electricity, radio waves, and industrial mechanics, profoundly influenced Futurist poetics. The movement’s focus on the “complete renewal of human sensibility” resonates remarkably with today’s era of artificial intelligence, robotics, and digitalization—modern extensions of Futurism’s century-old vision of innovation and speed.
In the years preceding World War I, Europe experienced an unparalleled cultural ferment. Amidst numerous avant-garde movements, Futurism stood out for its radical embrace of all fields of knowledge and artistic practice: painting, sculpture, architecture, literature, music, and even culinary arts. The works displayed in “The Time of Futurism” reflect this transformative ethos, showing how Futurists approached their break from tradition not as a destructive act but as a necessary mission of societal renewal.
Early 20th-century technologies were more than mere thematic inspirations; they compelled Futurists to reconsider the relationship between humans and machines. This vibrant, sometimes contentious dialogue is a key strength of the exhibition, offering insight into how the movement embraced modernity with a mix of enthusiasm and fervor. As visitors grapple with today’s challenges of artificial intelligence and industrial automation, they are invited to reflect on the prescience of Marinetti’s vision.
Futurism drew from Nietzsche, Einstein’s theories of relativity, and the poetics of irrationalism, reinterpreting these ideas in a forward-looking framework. The influence of science shaped not only the themes but also the methods of Futurist formal experimentation: the fragmentation of movement, the dynamism of forms, and the interplay of light reflect an effort to capture a world in perpetual acceleration. This ethos pervades the exhibition, from images of speeding automobiles to sculptures crystallizing moments of unending motion.
The figure of Filippo Tommaso Marinetti is pivotal to understanding the origins and development of Futurism. As a poet, writer, and cultural provocateur, Marinetti transformed his vision into a full-fledged international movement that attracted artists like Umberto Boccioni, Carlo Carrà, Giacomo Balla, Fortunato Depero, Gino Severini, and many others. The exhibition “Il Tempo del Futurismo” pays tribute to Marinetti’s creative energy, highlighting not only the pictorial and sculptural dimensions of the movement but also its literary impact.
Fittingly, the exhibition features a hundred books and manifestos, rare documents that reveal how the written word—along with proclamations and key concepts such as the “beauty of speed,” the rejection of the past, and typographical revolution—helped shape the identity of Futurism. As noted by Gabriele Simongini, Futurism’s multidisciplinary nature should not be mistaken for a lack of focus; rather, it reflects a deliberate integration of diverse languages into a unified vision of progress.
Marinetti’s charisma, though at times controversial, is palpable throughout the exhibition. Visitors encounter unpublished writings, historical newspaper articles, and testimonials that showcase the Futurist poet and theorist’s ability to captivate public attention and polarize opinion. The Galleria Nazionale d’Arte Moderna e Contemporanea dedicates significant space to the literary dimension, juxtaposing texts, typographical sketches, and visual works. This curatorial choice provides a comprehensive view of the Marinettian movement, spotlighting its cultural and political roots while acknowledging its contradictions.
One of Marinetti’s and his contemporaries’ greatest achievements was their relentless experimentation in pursuit of new forms of expression. Futurism extended far beyond painting, envisioning immersive environments composed of sounds, lights, and words set free from conventional constraints. The exhibition emphasizes the concept of the “mechanization of humanity,” where humans were no longer passive subjects but integral components of a perpetually moving machine. These works, viewed today, prompt reflection on technological evolution and the ongoing hybridization of humans and machines—a theme as relevant as ever in the digital age.
The layout of “Il Tempo del Futurismo” unfolds across thematic rooms, offering both a chronological and conceptual journey through the Futurist universe. In addition to the most famous paintings and sculptures, visitors can admire a seaplane, cars, motorcycles, and scientific instruments from the era, testifying to the movement’s fascination with speed and progress. Below, some highlights of the exhibition are explored.
At the heart of Futurism lies the concept of speed, brought to life in the masterpieces of its leading figures. Thanks to prestigious loans from institutions like the MoMA, the Metropolitan Museum of Art, the Philadelphia Museum of Art, and the Estorick Collection in London, visitors can see works that embody contemporary dynamism. Through fractured lines, overlays, and vivid colors, Futurist artists depicted movement and simultaneity as essential dimensions of modern experience.
This passion for movement and the machine also manifests in sculptures resembling intricate mechanisms of gears and angular forms, sometimes softened by plays of light. The tension toward the future, the break with academic stasis, and the celebration of metropolitan frenzy are among the qualities that make these works strikingly relevant today.
A particularly noteworthy section focuses on the scientific revolution of the era. Displaying rare scientific instruments alongside Futurist sketches and paintings highlights the close connection between art and science, illustrating the fascination with physics, chemistry, and new industrial technologies. This approach underscores how Marinetti’s avant-garde was as much a cultural and social project as it was an artistic one.
Futurism captured the perceptual upheaval of its time, driven by scientific discoveries such as aviation, the automobile, and early explorations of space (at least in the realm of imagination). The concepts of distance and space take on central roles in the exhibition, with canvases and designs emphasizing how vastness and speed transformed horizons into kaleidoscopes of shifting colors and forms.
The presence of an authentic seaplane, displayed alongside paintings celebrating flight and aerial dynamism, underscores the symbolic significance of aviation. This exhibition immerses visitors in an era when flight was a near-mythical frontier, opening new perspectives and visions for humanity. The diagonal cuts and kinetic lines of Futurist masterpieces attempt to capture the essence of airborne speed.
“Il Tempo del Futurismo” also offers in-depth events and two site-specific installations: one curated by Magister Art and another by Lorenzo Marini. These installations contemporize the exhibition’s themes, engaging audiences through immersive experiences that combine images, sounds, and projections. The multidisciplinarity so cherished by Futurists resonates throughout the Galleria, reinforcing the educational and inclusive value of the initiative.
Among the most significant collaborations is that with MAXXI, particularly the opening of Casa Balla to the public. This extension of the Futurist narrative beyond the exhibition halls builds a bridge between the displayed works and the original environments where artist Giacomo Balla experimented with color and movement concepts.
Despite the widespread interest generated by the exhibition “Il Tempo del Futurismo” for the quality of its works and its rich educational approach, the discussions have extended beyond the usual debates on the historical and cultural role of Futurism. Various articles and journalistic investigations have highlighted controversies related to alleged organizational delays, supposed contractual irregularities, and even drastic reductions in the number of works on display. The tone of the discourse has often been harsh, drawing attention from investigative television programs aiming to shed light on these emerging issues.
According to some sources, missing or unformalized contracts complicated the event’s management, causing dissatisfaction among those involved. Other commentators have labeled the exhibition a “flop”, citing bureaucratic delays and coordination difficulties among the various parties responsible for the exhibition’s preparation. Reports have also emerged of unrecognized labor, with some collaborators alleging inadequate professional protections.
One particularly contentious issue concerns the alleged reduction in the number of works initially planned, with estimates suggesting as many as 300 pieces were “cut”. According to these reports, this led to internal tensions and disputes with part of the scientific committee, which was accused of wanting to defend the original project’s integrity. From another perspective, the decision to select fewer works was justified on logistical and curatorial grounds, aimed at ensuring better presentation and accessibility of the exhibition’s content.
The exhibition has also faced political criticism, partly concerning the role of the Ministry of Culture and its relationship with the curatorial team. Some observers have drawn attention to alleged ideological biases, accusing the organizers of partisan interpretations or manipulative approaches in framing the exhibition. Others have emphasized that the avant-garde and bold nature of Futurism inevitably prompts reflections on sensitive topics—including political ones—without implying any intent to exploit the event.
The media coverage has extended to investigative television programs, which have focused on the so-called “Boccia Case” and potential interference from government officials or other institutional representatives. Some articles suggest that the Minister and other prominent figures may have been aware of the organizational challenges well in advance but failed to act promptly. This circumstance has fueled further debate, particularly regarding the responsibilities of those tasked with ensuring the smooth execution of the exhibition.
As often happens with such ambitious cultural initiatives, opinions have polarized:
Even in light of the various journalistic investigations, it remains challenging to distinguish confirmed facts from unverified allegations. To date, there has been no definitive account of shared responsibilities or an official denial capable of dispelling suspicions. However, many observers hope that media coverage will encourage organizers to clarify matters further, ensuring that the historical and artistic value of “Il Tempo del Futurismo” is not overshadowed by controversies that ultimately risk compromising public engagement with a priceless cultural legacy.
While maintaining a neutral stance, the true essence of Futurism remains its expressive power, experimentation, and defiance of traditional norms. The ongoing debate reflects a broader question: how to reconcile the artistic significance of such an avant-garde movement with the logistical and political challenges of its presentation, ensuring the exhibition fulfills its educational and cultural mission beyond any controversy.
The controversies surrounding this exhibition underscore how art serves a crucial function, not only in celebrating beauty or innovation but also in sparking debate and raising ethical and historical questions. Whether defining the boundaries between avant-garde and propaganda or examining the impact of machines on human creativity, “Il Tempo del Futurismo” has created a space for dialogue that some consider even more compelling than the works themselves.
From a historical and critical perspective, it is vital to recognize that the Futurists, at the dawn of the 20th century, had already glimpsed the potential and risks of a hyper-technological society. Thus, the exhibition represents an unmissable opportunity to question the trajectory of our contemporary world. Far from offering a definitive answer, “Il Tempo del Futurismo” invites visitors to ponder the timeless interplay between art and technology, drawing parallels between the scientific discoveries of a century ago and those of today.
Featuring 350 works, complemented by immersive installations, historical objects, and unique documents, “Il Tempo del Futurismo” is a remarkably comprehensive exhibition. It provides an exhaustive overview not only of the brilliance of individual artists but also of the context in which the movement evolved. With loans from international museums and the publication of a catalog by Treccani featuring essays by prominent scholars, the event demonstrates its high scientific caliber.
In an era marked by continuous technological and social transformations, Futurism continues to exert undeniable fascination. Visiting the exhibition means immersing oneself in a universe of forms, lights, and theories that, while rooted in a specific historical context, remain extraordinarily prophetic, establishing a direct dialogue between past and future. The Galleria Nazionale d’Arte Moderna e Contemporanea, under the patronage of the Ministry of Culture, offers a chance to rediscover the complexity and enthusiasm of an avant-garde that made transformation its manifesto.
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