On Sunday 16 April, the Cirulli Foundation inaugurates the Cut&Paste exhibition section. Photocollage between Dada and Futurism. The selection of about forty works, including collages and photocollages from the Cirulli Foundation collection, aims to be a reflection in the field of visual research that enthralled the avant-gardes from the 10s to the 30s of the century last year, when continuous formal and aesthetic experimentation led to the search for new expressive techniques that canceled any reference to the past, reaching
to deny the dexterity of painting in favor of the choice of poor and ephemeral materials, such as newspaper clippings and photographic fragments, assembled in an apparently meaningless composition which, in reality, only takes into account the artist's sensibility.
This is the case of Raoul Haussmann, Kurt Schwitters and Hannah Hoch, Dada-Berlin artists, for whom collage seems to become the perfect expressive solution for expressing the discomfort with the industrial society of the time, capable of promising well-being but leading the world to war.
In futurist works, however, the use of photocollage represents the desire to celebrate modernity through the exaltation of technological innovations and the vital energy they release. Among the artists present stand out Bruno Munari, Thayaht and Vinicio Paladini, among the first in Italy to use the technique of collage and photomontage.
One 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 the programming of the Cirulli Foundation develops, conceived in collaboration with Jeffery Schnapp, historian and reference figure in the field of digital humanities, which makes it possible to "move away from exhibition formats and from heavy and by now tired museum programming, to instead open a space for experimentation between archive and exhibition space... a sort of "no man's land", a history and culture laboratory in which instead of the great story, multiplicity, simultaneity and agility are sought, futurist 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 between 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, which tell the story of the Italian 20th century.