Exhibition in Milan Explores Connections Between Metaphysical Art and Futurism

An exhibition titled 'Metafisica/metafisiche' is currently on view in Milan, curated by Vincenzo Trione. The show examines the Italian Metaphysical art movement, featuring works by artists such as Giorgio de Chirico, Alberto Savinio, Carlo Carrà, and Filippo de Pisis. It aims to broaden the understanding of this 20th-century movement by exploring its intersections with various other artistic languages and expressive forms, including Dadaism, Surrealism, European abstraction, Pop Art, conceptual art, as well as architecture, design, fashion, cinema, photography, theater, and graphic novels. The exhibition is conceptually linked to a prior show on Futurism titled 'Il tempo del futurismo,' presented at the GNAMC in Rome. Both exhibitions share a critical intent to analyze not only the aesthetic profiles of these Italian avant-garde movements but also their role in shaping the modern perspective and their engagement with the relationship between art, history, and society. A central theme discussed is the complex and often ambiguous connection both movements had with fascism. The analysis highlights a deeper structural affinity between Futurism and Metaphysical art concerning their relationship with time. While seemingly opposed—with Metaphysical art oriented toward the classical and a lost or idealized origin, and Futurism projecting toward the future, speed, and machinery—both are argued to devalue the present. The present is seen not as a locus of full meaning but as a provisional state, subordinate to a broader totality that either precedes or surpasses it. This temporal dynamic is suggested as a reason for their relative marginality within the broader European avant-garde context, as they are perceived as less capable of directly engaging with the fractures of modernity, the trauma of war, and historical crises compared to movements like Impressionism, Cubism, Dadaism, Expressionism, Surrealism, and Neo-avant-gardes. The article, written by Domenico Ioppolo, posits that this difficulty in inhabiting the present reflects a broader Italian cultural challenge. However, it notes the enduring influence of both movements on contemporary languages in architecture, design, fashion, and cinema, suggesting their legacy extends beyond national or academic confines.