Art Madrid'25 – Futurism exhibition NY

 

The Guggenheim museum in New York traces the history of Futurism with an exhibition of over 300 pieces of the main leaders of the Italian avant-garde movement: “Italian Futurism (1909-1944 ). Reconstruction of the Universe” can be visited until September, 2014 .

It is not very common that such a loud, aggressive and revolutionary movement has received so little attention inside and outside its geographical borders... Futurism, the most violent trend of the avant-gardes of the early twentieth century was born in Italy with the rabid desire to create a new world, machining and bright away from classicism, classical art and the Academy, and based its manifesto on the literal "burning" of museums and cultural institutions in their own country and the glorification of war and violence as the only way for growth Art and society.

"A roaring car that seems to run on a trail of shrapnel is more beautiful than the Victory of Samothrace". With tremendous force Le Futurisme portrayed the environment of the Europe of the early twentieth century, an environment on political, philosophical, religious and scientific chances. According to futurists "the triumphant progress of science makes inevitable the profound changes in humanity".

Filippo Tomasso Marinetti, a poet born in Egypt and educated in Paris into an intellectual family, did not hesitate to choose the cover of Le Figaro, the most read newspaper in France , home of the Avant-Garde, to present his ideas. He knew that these Saturday 20 of February, 1909 would raise blisters.

"It is from Italy that we launch this new manifest to the world, because we want to free this country from its fetid gangrene of professors, archaeologists, and antiquarians. Too much time has been this country a place for secondhand-dealers. We want to liberate Italy from the innumerable museums that cover all around with cemeteries".

The exaltation of a renewed Italy impacted to young Italian artists like Boccioni, Giacomo Balla, Gino Severini, Carlo Carrà, Luigi Russolo,… who poured into large canvases their studies of motion, speed, industrial landscapes, smoking chimneys and locomotives, revolutionary masses, electrical cables and airplanes "whose propeller spreads flames in the wind like a flag and seems cheering over the enthusiastic mass" as says the manifesto.

Inevitably, an artistic and nationalist movement of these features drove itself at breakneck-speed toward politics and soon agreed with the thesis of the Fascists. Marinetti joined the Fascist Party in 1919 and showed loyalty to Mussolini until his dead. In one of his points, the Futurism Manifesto ensured "we glorify war, only hygiene of the world". And it was the war, the First World War, who ended the movement. Most of its members and supporters died faithful to his ideas or dissapeared into Europe during this chaotic time.

His main legacy, in addition to the excitement, was the representation of speed, to "bear with static media, the real movement", knowledge that defined, for example, the development of the comic.

Now, this movement lands in the Guggenheim Museum in New York with the strength of more than 360 works by 80 artists. “Italian Futurism (1909-1944). Reconstruction of the Universe” is probably the biggest exhibition about Futurism of all times.

 

From July 7 to 9, 2025, the Balsera Palace will host the First Course on Collecting and Contemporary Art, an intensive 15-hour program that will explore the complex and fundamental question of taste in contemporary art. Organized by the Nebrija Institute of Arts and Humanities at Nebrija University and the Avilés City Council, in collaboration with 9915 — Association of Private Collectors of Contemporary Art and the Institute of Contemporary Art, the course offers a unique opportunity for analysis and debate on the dynamics that shape aesthetic and symbolic value in today’s art scene.


First Course on Collecting and Contemporary Art. Avilés, Asturias


The notion of taste, intrinsically tied to aesthetic judgments and power relations, has played a decisive role in the historical prominence of artists and artworks. However, contemporary art—marked by its breaking of conventions, diversity of media and techniques, and critical stance toward traditional canons—raises fundamental questions about the continued relevance of this concept.

This course will explore how the decisions made by key players in the art system—institutions, private collections, galleries, curators, and artists—continually redefine a field of taste shaped by aesthetic, symbolic, cultural, social, and political logics.


"¿But does it exist, and what is the prevailing taste of our time—so seemingly confused, fragmented, indecipherable?" - Omar Calabrese, The Neo-Baroque Era.


The academic program, directed by José Luis Guijarro Alonso, Director of the Master’s in Art Market and Related Business Management at Nebrija University, and Pablo Álvarez de Toledo, Head of the Department of Arts at Nebrija University and the Nebrija Institute of Arts and Humanities, will bring together a distinguished group of national experts—including collectors, critics, curators, gallery owners, and artists—whose contributions will address key issues in shaping aesthetic, symbolic, and market value in today’s art world.


PROGRAM

MONDAY, JULY 7

9:30 AM Registration.

10:00 AM Course Opening Nebrija University Avilés City Council Presented by Rosario López Meras – President of the Association of Contemporary Art Collectors, 9915, and Adrián Piera – President of the ICA, Institute of Contemporary Art.

10:30 AM Course Presentation By José Luis Guijarro Alonso – Art Historian and Anthropologist, Researcher, and Director of the Master’s in Art Market and Related Business Management at Nebrija University.

11:00 AM Coffee Break.

11:30 AM Panel Discussion The Taste of Private Collecting as a Prelude to History. Speakers: Candela Álvarez Soldevilla – Entrepreneur and Collector; Javier Quilis – INELCOM Collection; José Miguel Vegas Valle – Collector. Moderator: Luis Feás – Critic and Curator.

1:00 PM Lunch Break.

3:30 PM Individual Lecture On Good Taste in Contemporary Art. Speaker: Marisol Salanova – Curator and Art Critic, Director of Arteinformado.

4:45 PM Panel Discussion The Influence of Galleries in Shaping Contemporary Taste. Speakers: Elba Benítez – Gallerist; Ricardo Pernas – Gallerist (Arniches 26); Aurora Vigil-Escalera – Gallerist. Moderator: Rafael Martín – Coleccion@casamer.

6:00 PM End of Day.

6:30 PM Activity and Cocktail Visit to the Exhibition Asturian Artists in the Pérez Simón Collection – Avilés.

TUESDAY, JULY 8

10:00 AM Individual Lecture Contemporary (Bad) Taste: Kitsch, Camp, and Tacky. Speaker: Julio Pérez Manzanares – Autonomous University of Madrid.

11:00 AM Coffee Break.

11:30 AM Panel Discussion Institutions and the Formation of Contemporary Taste. Speakers: Virginia López – Artist, Founder of PACA_Proyectos Artísticos Casa Antonino; Julieta de Haro – Artistic Director of CentroCentro; Carlos Urroz – Director of Institutional Relations, Museo Nacional Centro de Arte Reina Sofía. Moderator: Laura Gutiérrez – Director, School of Art of Oviedo.

1:00 PM Lunch Break.

3:30 PM Panel Discussion Beyond the Eye: The Taste for Ethical, Ecological, Social, or Political Concerns in Contemporary Art. Speakers: Semíramis González – Independent Curator; Eugenio Ampudia – Artist; Claudia Rodríguez-Ponga – Independent Curator. Moderator: Bárbara Mur Borrás – PhD in Fine Arts.

5:00 PM End of Day.

5:30 PM Activity Visit to the Studiolo Exhibition – Candela Álvarez Soldevilla Collection.

WEDNESDAY, JULY 9

9:30 AM Meeting with Asturian Artists Speakers: María Castellanos – Artist; Avelino Sala – Artist; Consuelo Vallina – Artist. Moderator: Pablo Álvarez de Toledo – Nebrija University.

11:00 AM Activity Visit to the Niemeyer Center – Avilés.

Course Closing Ceremony.





This course is designed for art professionals, collectors, researchers, and students seeking an in-depth analysis of the dynamics that shape taste and collecting practices in contemporary art. Adopting a critical and multidisciplinary perspective, it provides a unique opportunity to rigorously examine the aesthetic, symbolic, and structural factors that underpin the legitimization of contemporary art.