|13/09/2017||ENRICO PRAMPOLINI |
FUTURISM, STAGE DESIGN AND THE POLISH AVANT GUARDE THEATRE
09.06.2017 - 08.10.2017
Enrico Prampolini is one of the most important artistic personages of the international avant-garde. His work echoes almost all new movements and styles of art of the first half of the 20th century: from Futurism, which he co-founded together with Filippo Tommaso Marinetti’s group, through Dadaism, Constructivism and Surrealism, to the club of Parisian abstractionists Cercle et Carre'. He was a painter, sculptor, scenographer, choreographer, architect and graphic designer. Pampolini created advertisements, posters, montages, big murals and stage sets for a number of movies. He was an organiser of artistic life in Paris, Prague and Rome, as well as curator of the last international avant-garde scenotechnique exhibition at the 6th Triennale in Milan (1936).
The exhibition at the Muzeum Sztuki in Lódz presents in chronological order Prampolini’s extremely rich artistic legacy in all these areas. It coincides with the 100th anniversary of the Polish avant-garde movement and creates an excellent opportunity to look at the relations between the Italian futurism and the Polish representatives of new art. These relationships were most vibrant in the area closest to Prampolini’s heart - theatre. It was Prampolini who decided not to use the terms such as stage design or theatre decoration, and introduced that of scenotechnique which was closer to architecture rather than painting and treated the stage space in an innovative, modern way. Polish artists of the Zwrotnica, Blok and Praesens circles all sided with this architectural approach to the theatre set design, discarding the traditional, painted decoration. Their works testified to a radical change in understanding and creating theatrical scenery which, thanks to the vanguard movement, took place in theatre at the time.
The exhibition at the Muzeum Sztuki is the first one ever that will combine projects by representatives of the Italian futurism and the Polish avant-garde. The contacts between artists of both formations also come under examination in quite a broad context. After all, it was thanks to Jan Brzekowski’s instigation that Prampolini presented the Lódz group a.r. with his Tarantella, enriching their collection with this painting in 1930.