02 November 2024
The radical chic don’t mind too much but if an exhibition becomes the theme of a street art work a month after its opening then that exhibition has already won its challenge and has entered the popular imagination. In fact, the murals created by street artist Harry Greb and which appeared on Halloween night almost in front of the Palazzo delle Esposizioni, take inspiration from the exhibition “The Time of Futurism”, which will open at the National Gallery of Modern Art in Rome on 2 December. on National Street. In the largest one, in the centre, the Minister of Culture Alessandro Giuli appears while smilingly embracing the Creature (or Monster) of a now legendary film like “Frankenstein Jr” by Mel Brooks, which marks the fiftieth anniversary of its release in cinemas . And since in the film the Creature was frightened by the fire, behind the two figures a flaming background is painted in bright colors while at the top the writing FUTURISM appears graphically superimposed on the writing FASCISM, according to a very old and now outdated cliché that someone will have to one day while explaining to the young street artist.
In an ideal triptych, on the right the Creature himself lifts an amused Giorgia Meloni as if she were a child and wearing a very colorful dress with the words Futurism. On the left here is the former minister Gennaro Sangiuliano portrayed in the guise of the legendary Igor, the unpredictable and hilarious hunchbacked assistant of Dr. Frankenstein made immortal by Marty Feldman’s interpretation. Sangiuliano/Igor is showing passers-by the famous train tickets exhibited on TG1 to demonstrate that no public money had been spent in the infamous Boccia case. Harry Greb recently turned forty and created his first mural in Rome a year ago depicting the handshake between Trump and Putin and then portraying Pope Francis as Kill Bill.
The style is not bad, even if they are not real murals but a kind of poster elaborated on the computer, printed, worked with brushes, acrylic or spray. Marinetti and the futurists would have liked all this great noise and all the free publicity surrounding the exhibition a lot and would have had fun anticipating an inevitable success. And a work like this would have been very welcome (even if street art didn’t exist then) because it was born outside museums, libraries and academies, just as the futurists wanted, far from those hypocritical, dusty and dusty fogies who these days they scream and foam at the exhibition, but end up transforming Boccioni’s genius into a Boccia 2 case.
#Futurism #obsessed #protest #mural #appears #Tempo
**Interview with Art Historian Dr. Elena Rossi on the Upcoming Exhibition “The Time of Futurism”**
**Interviewer:** Welcome, Dr. Rossi, and thank you for joining us today. There’s a lot of buzz surrounding the upcoming exhibition “The Time of Futurism” at the National Gallery of Modern Art in Rome. Can you tell us how the exhibition connects to the themes of Futurism, especially considering its historical context?
**Dr. Rossi:** Thank you for having me. The exhibition is a significant homage to the Futurist movement which began in Italy in the early 20th century, characterized by its embrace of modernity, technology, and even a sense of aggression. The inclusion of works by artists like Mina Loy, who contributed portraits of Marinetti, highlights the vivid personalities that shaped this avant-garde movement. It’s fascinating to see how these historical pieces resonate today.
**Interviewer:** Speaking of resonance, street artist Harry Greb has taken inspiration from this exhibition, as shown in his recent murals. What do you make of this contemporary response to the Futurist theme?
**Dr. Rossi:** It’s quite remarkable! Greb’s work exemplifies how art can transcend time, engaging with past movements in a fresh context. His murals intertwine playful elements, such as references to the iconic “Frankenstein Jr.” film, with political commentary. This juxtaposition reflects public sentiment and generates dialogue about how Futurism is perceived today—especially in light of its controversial associations with Fascism.
**Interviewer:** That leads us to an interesting discussion on how Futurism has been interpreted over the years. With the murals depicting political figures and blending satire with historical references, can this distort or enhance the original movement’s meaning?
**Dr. Rossi:** It can do both. On one hand, such reinterpretations risk oversimplifying a complex historical narrative. However, they can also serve as a vital tool for engaging younger audiences in art and history. By linking the vibrant ideals of Futurism with modern cultural critique, artists like Greb invite us to explore the legacy of such movements beyond their original context.
**Interviewer:** Lastly, what do you hope audiences take away from both the exhibition and Greb’s murals?
**Dr. Rossi:** I hope audiences will appreciate the dynamic interplay between history and contemporary culture. It’s essential to recognize how past artistic movements can inform our present reality, prompting us to think critically about ideology through both established and street art. It’s a way to reclaim and reinterpret history, rather than allowing it to be silenced or misrepresented.
**Interviewer:** Thank you, Dr. Rossi, for sharing your insights. The intersection of past and present in art is indeed a powerful dialogue.
**Dr. Rossi:** Thank you! It’s a pleasure to discuss such an engaging topic.
