il Trittico della Velocità: L'Arrivo 1927

Editor: Right, next up we have Gerardo Dottori’s, "il Trittico della Velocità: L'Arrivo", painted in 1927, oil on canvas. It feels incredibly dynamic, like a snapshot of a rapidly transforming cityscape. What do you see in this piece? Curator: Well, from a materialist perspective, I see a blatant fascination with the technology of speed, rendered through the very laborious and time-consuming process of oil painting. Notice how Dottori attempts to capture dynamism through fractured forms and vibrant colors. Consider this within the context of early 20th-century Italy, where Futurists celebrated industrialization and the supposed destruction of traditional values. Editor: So you're saying the medium – oil paint, traditionally associated with a slower, more meticulous approach – is almost in conflict with the subject matter of speed and modernity? Curator: Precisely! It highlights the complex relationship between the artist, the materials, and the societal values they're trying to represent. The very act of depicting "speed" through such a deliberate process underscores the tensions inherent in Futurism's embrace of modernity. It prompts us to ask, who is this "arrival" really for? Whose labor facilitated it? Editor: That’s interesting! I never thought about the material conveying an almost contradictory message to the theme of progress. The intensive labor contrasts with what is otherwise considered "modern". Curator: Exactly! Considering the material conditions and social context truly unveils this artwork's meaning and highlights the complex network of labour involved in its making, going beyond Dottori's fascination for urban growth. It's not just about glorifying speed, but understanding its social ramifications and means of production. Editor: Thanks, this opens up a completely new way of looking at Futurism for me. I’ll certainly keep these social and material dimensions in mind from now on.