20TH CENTURY MOVEMENTS

PUBLISHER
Fondazione Prada

BOOK FORMAT
Hardcover, 8 x 11 in. / 698 pgs / 974 duotone.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2018 p. 182   

PRODUCT DETAILS
ISBN 9788887029710 SDNR30
List Price: $130.00 CDN $175.00

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Milan, Italy
Fondazione Prada, 02/18/18–06/25/18

Milan, Italy
Fondazione Prada, 02/18/18–06/25/18

"We will glorify war — the world's only hygiene — militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for." —Filippo Tommaso Marinetti, Futurist Manifesto


"The Fascist regime prioritized culture in all its forms, from the most popular to the most elite, putting it at the core of the Fascist project of remaking Italians and changing the way Italians experienced the world. The exhibition — a flexible, adaptable, modern, and, potentially, 'total work of art' that could fulfill an array of functions — was a central weapon in this cultural crusade. The very possibilities embedded in the exhibition as a cultural form — its ability to contain any message, to direct the gaze, to control the narrative, and regulate emotions — made it a ubiquitous presence in the Italian cultural landscape of the 1920s through 1940s. Moreover, exhibitions offered a physical meeting-place and mixing-point for cultural producers, consumers, and the Fascist regime…" —Marla Stone, from "Exhibitions and the Cult of Display in Fascist Italy"

  

FONDAZIONE PRADA

Post Zang Tumb Tuuum: Art Life Politics

Italia 1918–1943

Edited by Germano Celant, Chiara Costa. Foreword by Miccia Prada, Patrizio Bertelli. Introduction by Germano Celant. Text by Ruth Ben-Ghiat, Francesca Billiani, Maristella Casciato, Daniela Fonti, Emilio Gentile, Romy Golan, Mario Isnenghi, Lucy Maulsby, Antonello Negri, Elena Pontiggia, Sileno Salvagnini, Jeffrey Schnapp, Francesco Spampinato, Marla Stone, Alessandra Tarquini. Contributions by Andrea Baffoni, Fabio Benzi, Giorgina Bertolino, Silvia Bignami, Nicoletta Boschiero, Laura Calvi, Paolo Campiglio, Alberta Campitelli, Nicoletta Cardano, Ester Coen, Nadia De Conciliis, Roberto Dulio, Massimo Duranti, Stefania Gagliardini, Danka Giacon, Elena Gigli, Claudio Giorgione, Alessandra Grandelis, Eugenio Lo Sardo, Chiara Mari, Stefano Marson, Cornelia Matracci, Marta Mazza, Lucia Miodini, Francesca Romana Morelli, Marta Nezzo, Mattia Patti, Paola Pettenella, Stefano Poli, Assunta Porciani, Paola Redemagni, Valerio Rivosecchi, Katherine Robinson, Carlotta Rossi, Paolo Rusconi, Alberto Salvadori, Luigi Sansone, Dieter Scholz, Francesca Serrati, Carla Sonego, Attilio Terragni, Francesca Zanella.

Above: A photographic rendering of Filippo Tommaso Marinetti in his home in 1934, in front of Umberto Boccioni’s "Dinamismo di un footballer" (1913). This is one of a series of images that place artworks exhibited at the Fondazione Prada as color renderings into historical black-and-white photographs, in order to illustrate the research methodology of the show.

This ambitious volume explores the art and culture of Italy in the interwar years through more than 600 paintings, sculptures, drawings, photographs, posters, furniture and architectural plans.


Above: A photographic rendering of Filippo Tommaso Marinetti in his home in 1934, in front of Umberto Boccioni’s "Dinamismo di un footballer" (1913). This is one of a series of images that place artworks exhibited at the Fondazione Prada as color renderings into historical black-and-white photographs, in order to illustrate the research methodology of the show.

PRAISE AND REVIEWS

The New York Times

Jason Farago

landmark.... a resounding achievement in exhibition making, blending rigorous scholarship, political engagement and immaculate design

The New York Times

Jason Farago

landmark.... a resounding achievement in exhibition making, blending rigorous scholarship, political engagement and immaculate design

Post Zang Tumb Tuuum: Art Life Politics

in stock  $130.00


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FROM THE BOOK
Introduction, by Miuccia Prada and Patrizio Bertelli

This exhibition was born of the idea of investigating the artist and human being’s condition under a regime: what opportunities are offered and which aesthetic compromises required of the artist; what moral dilemmas and risks beset the human being?
The project concentrates on the artist’s role during the rise, establishment and fall of Fascism in Italy, using Italian art from the 1920s and 1930s as an investigative tool through an exhibition that attempts to recount official reality alongside the interferences that agitated it, presenting art and history together contemporarily.
It is an exhibition about our recent past, albeit it one that today feels necessary — due to similitudes between our past and present — in order to understand an uncertain world characterized by multiple perspectives. Being an artist today still means struggling with the restrictions of daily life and the forces that govern society, and we feel it is even more necessary to take a stand and think of culture within a broader context.
For us “Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943” is a means for reconstructing the routes taken by those who dedicated their thinking — and in some cases risked or lost their lives — to projects and ideas that had more than just artistic recognition as a goal. They also aspired to cultural growth and at times even affirmation of Italy’s rights. This meant focusing our attention on the artist’s humanity, on his or her position as part of society and potential artifice of reality and change. It also meant acknowledging human weakness in the face of power, be it political, economic or social, as well as the consequences of choices made in the realm of art and the effects they can have on life in general.
Therefore the aim was both ambitious and extremely difiicult to realize, and certainly impossible without the collaboration of those public institutions, foundations, archives and families who have safeguarded the documents and artworks, factual chronicles and memories of these people. The result of this attempt is a group effort, a choral project, one built of many voices, in color and in black and white, organized in this book and in the exhibition into a chronological sequence in which, thanks to the images, we hope to have brought into focus twenty-five years that were decisive for Italy and, along with them, the stories of the many artists who worked in, experienced and helped make politics. Art+Life+Politics.

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