On Sunday 16 April, the Cirulli Foundation inaugurates the Cut&Paste exhibition section on site. Photocollage between Dada and Futurism. The selection of around forty works, including collages and photocollages from the Cirulli Foundation collection, aims to be a reflection in the field of visual research that fascinated the avant-gardes from the 1910s to the 1930s last, when continuous formal and aesthetic experimentation led to the search for new expressive techniques that canceled out any reference to the past, reaching

to deny the manual skill of painting in favor of the choice of poor and ephemeral materials, such as newspaper cuttings and photographic fragments, assembled in an apparently meaningless composition but which, in reality, only takes into account the sensitivity of the artist.

This is the case of Raoul Haussmann, Kurt Schwitters and Hannah Hoch, artists of Dada-Berlin, for whom collage seems to become the perfect expressive solution to express the discomfort towards the industrial society of the time, capable of promising well-being but of leading the world to war.

In futurist works, the use of photocollage represents, however, the desire to celebrate modernity through the exaltation of technological innovations and the vital energy that they release. Among the artists present, Bruno Munari, Thayaht and Vinicio Paladini stand out, among the first in Italy to use the technique of collage and photomontage.

A section is dedicated to Jean Cocteau, one of the most prominent figures of the Parisian avant-garde in the period between the two wars. Poet, writer, playwright, screenwriter, director and actor, he experimented with all the artistic trends of those years.

Cut&Paste is part of the broader exhibition of The Animated Archive, the exhibition concept around which all of the Cirulli Foundation's programming is developed, conceived in collaboration with Jeffery Schnapp, historian and reference figure in the field of digital humanities, which allows us to " move away from exhibition formats and forms of heavy and now tired museum programming, to instead open a space for experimentation between archive and exhibition space... a kind of "no man's land", a laboratory of history and culture in which instead of the great story we seek multiplicity, simultaneity and agility, futuristic values par excellence, but also completely contemporary values, through the adoption of hybrid, light and fresh formats".

The Animated Archive leverages the diversity and heterogeneity of a panoramic collection such as that of the Cirulli Foundation which ranges from artistic masterpieces, decorative arts, communication, industrial design and material culture and which includes photographs, drawings, paintings , sculptures, objects, posters, correspondence, fabrics, magazines, books... that is, every form of socio-cultural communication. And it allows instances of direct access to materials, often non-canonical, that tell the history of 20th century Italy.