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“When the doyen of futurism, F.T. Marinetti, arrived in Buenos Aires on the evening of Monday June 7, 1926, the press was alive with reports that the Brazilians had booed him off the stage as a "fascist" and that, in at least some instances during his just-concluded visit there, he had been unable to speak. Not surprisingly then, in his first conversation with the Argentine press on June 8, Marinetti denied that he was a fascist and declared that his mission was not political but purely artistic. This was very likely untrue: the most plausible explanation for why he had come to Argentina was that he was trying to ingratiate himself with Mussolini by playing the role of Italian cultural ambassador, but of course this mission had to be denied in order for it to have any possibility of success. […]
“The [Futurist] manifesto develops the initial futurist vocabulary for which it has become (in)famous: "love of danger," "war, sole hygiene of the world,” "scorn for woman," "beauty of struggle," "destroy museums," and the like. […]
“[…] after Mussolini takes power in October 1922, Marinetti begins to reassess his relationship with fascism, concluding a year later that the best road forward for futurism is to seek to become the aesthetic arm for fascism rather than an autonomous social movement in full control of its cultural politics. […]
“After 1923, Marinetti and futurists loyal to him certainly propagandized for the regime. [… The] Futurist ”case d'arte" (art houses) emerged, which sold posters, ceramics, cookbooks, and related items to a public that, it seems, was eager to buy them. […]” (Adamson)
“[…] Marinetti and his movement came to a sad end. Predictably, he saw in fascism the possibility of realising futurist dreams. He was soon disillusioned. His own relationship with Mussolini quickly curdled. So began a long decline. Some speak of a "third phase" (circa 1931-40), in which futurism attempted to reinvent itself under the banner of "airborne life" [...] but in truth the moment had passed. By 1923, Marinetti was already marginalised; in the cut-throat world of the avant-garde, futurism was history.” (Danchev)
(Anton Giulio Bragaglia “Man Standing,” c. 1911)

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