Movement is art
“It is necessary to make the invisible that lives and moves beyond the thicknesses, not the small square of life artificially closed as between the scenarios of a theatre”. In the Futurist Manifesto published in 1909 in Le Figaro, Filippo Tommaso Marinetti became the theoretical promoter of the new revolution in progress.
The Futurists subverted the millenarian principles of the arts by striving to obtain the interpenetration of figure and context; they destroyed the laws of verisimilitude and perspective; they snatched the viewer from his position of contemplation to carry him into the picture. The figure object of the representation was no longer a closed reality, but rather the meeting point of forces and energies.
“We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons, bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers. It is in Italy that we are issuing this manifesto of ruinous and incendiary violence, by which we today are founding Futurism, because we want to deliver Italy from its gangrene of professors, archaeologists, tourist guides and antiquaries. […] Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.”
"At a certain point in art history, the artist began to interpret the canvas as an arena in which to consume an action. What goes on canvas is no longer painting but an event"; in the words of the critic Harold Rosenberg, we trace the figure of abstract expressionism, an artistic current that collected and brought to the extreme the inheritance of the Futurist years.
Art - which wanted to tell the story of movement - is itself motion and action.
It is impossible to ignore the body. As in the work of Shiraga, Gutai's representative of Japanese abstract expressionism, which fills up with colour and slides on the canvas; and as in the works of Ushio Shinoara and Omar Hassan, contemporary artists who replace the brush with boxer gloves, punching the canvas and creating works in which the creative process counts as much as the final result.