Among the works of art, a machine. An Italian machine. In the center of the last room of the exhibition “Tiempo del Futurismo”, it was inaugurated in the Galleria Nazionale d’Ate -acte modern (GNAM) in Rome in December 2024, is among the canvases of the 20 years 20 yearsTh-Cenuría of Italian avant -garde painters, a striking red hydroavion. It is a scale replica of the Macchi-Castoldi MC72, which allowed the Italian test pilot Francesco Agello to establish the world speed record in 1934, reaching 711 km/h.
Italian futurism was born 25 years before this feat, in 1909, in the pages of Figaro: That year, put Filippo Tommaso Marinetti (1876-1944) published the manifesto of the futuristic movement in the French newspaper. “We want to sing love to danger, the habit of energy and boldness,” he proclaimed. It is this movement to whom the exhibition of Rome, one of the main cultural projects of the Italian extreme right, pays tribute.
Due to the fascist aspect of his inheritance, futurism has seen a long leg with suspicion, although not completely rejected, within Republican Italy. The government dominated by the extreme right party of Giorgia Meloni aims to rehabilitate it as part of its cultural policy: it wants to integrate figures and movements in the national narrative that believes it has been too long.
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