THERE ARE MANY ACCOUNTS Of FUTURISM 'SORIGIN.

most of them
issued by the movement's founder, Filippo Tommaso Marinetti, and
one more excessive than the next. In the "Founding and Manifesto
of Futurism," published in Le Figaro on February 20, 1909, Marinetti
famously described the car crash that sparked a new mode of
perception: "I spun my car around with the frenzy of a dog trying
to bite its tail, and ... I stopped short and to my disgust rolled over
into a ditch with my wheels in the air.... Oh Maternal ditch, almost
full of muddy water! ... I gulped down your nourishing sludge ....
When I came up-torn, filthy. and stinking-from under the
capsized car, I felt the white-hot iron of joy deliciously pass through
my heart•"' Though dirty and injured, "faces smeared with good
factory muck" and "arms in slings," Marinetti and his comrades
were nonetheless able to declare the debut of Futurism. In subse-
quent texts Marinetti offered other sources for the movement's
founding and precepts, from the "whirling propeller," with its call
for a new language for a new world; to a battleship's speed, heat,
and mechanics, which illuminated "Futurist surprise and geometric
splendor"; to the darkness of a military trench, which in allowing
only a sightless experience of space- "! keep hitting bayonets,
mess tins, and the heads of sleeping soldiers"-proved the impor-
tance of "tactile sensations" for Futurist art; to a revelation out
of chaos (a classic origin-myth trope): "Out of an atmosphere of
confused and chaotic ideas, a word burning with fire suddenly flashed
to dispel the storm: 'FUTURISM.'"'
It is on this last image that I wish to focus. Although it neither
extols the mechanical and industrial nor reflects sensations of speed
and simultaneity. all well-known traits of Futurist art, it nonetheless
foregrounds the critical import of language to Futurism: in this
scenario, Futurism appears first and foremost as a word. In addition
to this word's spectacular qualities-it "bums with fire" -lan-
guage, this story tells us, is pictorial, tactile, rife with multiple
meanings, and, above all, mutable.
Given that Futurism was founded by a poet, it is not surprising
that language would be its primary medium. No other artistic
movement can boast as many manifestos, explanatory texts, and
rulebooks.' Marinetti wrote many of these, from the "Founding
Manifesto," with its violent farewell to tradition ("We will destroy
the museums, libraries, academies of every kind"),' to subsequent
documents offering step-by-step how-tos for Futurist writing,
dancing, filmmaking, and composing. Others were published by
Marinetti's compatriots in the visual and performing arts, including
Umberto Boccioni's "Technical Manifesto of Futurist Sculpture,"
Carlo Carra's "Painting of Sounds, Noises, and Smells," and Luigi
Russo Io's "Art of Noises."' The language of these manifestos is both
political and poetic; they present, Marjorie Perloff writes, "a new

JODI HAUPTMAN
NUBERTA literary genre, a genre that might meet the needs of a mass audience
even as, paradoxically, it insisted on the avant-garde, the esoteric,
the antibourgeois. "' This new genre, Marinetti insists, must be
violent, precise, and insulting. 1

134
 f!APFOR'l:0:'"'- NOTTAMBULO >4WlHU'E

,n. CARIO CARRA. Rapporto di un nottambulo milanese
(Chronicle of a Milanese night owl). 1914. Ink and collage
on paper, 14 ¼ x 11" (37.4 x 28 cm). Private collection
112.CAR[O CARRA. Manifestazione interventista (Festa patriottica-
dipinto parolibero) (Interventionist demonstration (Patriotic holiday-
freeword painting]). 1914. Tempera, pen, mica powder, and cut-and-pasted
paper on cardboard, 15 3116 x n 13h," (38.5 x 30 cm) . Gianni Matto Ii Collection,
Milan. On long term loan to the Solomon R. Guggenheim Foundation,
Peggy Guggenheim Collection, Venice

Even with their exuberant language, their agitated theatricality, such as the radio, the telegraph, the newspaper, and the billboard.
and their heated metaphors, the physical form of most of these "I sensed the ridiculous inanity of the old syntax inherited from
manifestos is fairly conventional. Marinetti and the others set out Homer," Marinetti began, and ''a pressing need to liberate words,
their arguments and principles either in extravagantly descriptive to drag chem out of their prison in the Latin period!"' He went on
prose or in lists, which may be introduced by such imperatives as to list eleven discrete principles characterizing chis new kind of
"WE DECLARE" or "WE FIGHT."' A more radical shift can be seen in
writing, among them the destruction of syntax and grammar, the
use of the infinitive, the abolition of adjectives and adverbs, the
another of Marinetti's inventions, a form he called parole in liberta.
juxtaposition or collision of nouns to create analogy, the elimination
Rejecting orderly rows of type and numerical order in favor of text
of punctuation, the deployment of mathematical symbols, the
and image that colonize the entire sheec,parole in liberta is an
removal of the first-person"! ," and the introduction of sound,
entirely new form of communication.
weight, and smell. The result, he happily reported, would be ugly,
First described in Marinetti's "Technical Manifesro of Futurist
chaotic, and violent.
Literature," written in 1912,parole in /iberta uses the page as an arena
Marinetti elaborated on these ideas in two subsequent texts,
of ac tion · Wi1ch tts
. com b'manon. o f Ietters an d pictures,
. . sevenng
1ts .
"Destruction of Syntax -Imagination without Strings-Words
of words and symbols from their meaning, its rejection of rules of
in Freedom" (1913) and "Geometric and Mechanical Splendor and
grammar, its function as 'prose to be read aloud and heard, its fore-
the Numerical Sensibility" (191,j)." Here he again rehearsed the
grounding
a . of soun d an d sensation
. over mearung,paro,e
. . l'b
, ,n t erta, 1s
.
imperative of "brutally destroying the syntax of ... speech," noted
hybTid of drawing, writing, and sound. For Marinetti this hybrid the "acceleration of life to today's swift pace," praised the "Love of
wlas particularly suited to modern life which he saw as immeasurably the new, the unexpected," and insisted on the "precision and essen-
a tered
. bYnew sorts of speedy transportation,
' .
such as the airplane, tial brevity" of mathematical symbols ("lyric equations" chat may
train, and autOmo b'I1 e; new kmds
. .
of spectacle from the cmema to tomobile's speed ["+-+-++x") or a complex battle).
. I'ight; and new ways of disseminating
t he eleCtTic ' represen t a n au
information,

135

He also applauded certain parts of speech for their "Futurist beauty'':
the infinitive, for example, had "the fluency of a train's wheel or an
airplane's propeller."" And he made three additions to his concept
of parole i11 libertii. One was a dynamic typography in a range of
letter sizes and fonts, for "typographical harmony of the page,
which is contrary to the flux and reflux, the leaps and bursts of
style that run through the page."" The second was onomatopoeia,
"one of the most dynamic elements in poetry," of which he saw
four different types, each with a particular function. "Direct,
imitative, elementary, realistic onomatopoeia," for example, "serves
to enrich lyricism with brute reality, which keeps it from becoming
11
too abstract or artistic. (E.g.: ratta-rac-tat, gunfire.)" Finally, using
the wireless telegraph as a model of immediacy and simultaneity,
Marinetti wrote, "By the imagination without strings [i.e., wireless]
I mean the absolute freedom of images or analogies, expressed
with unhampered words and with no connecting strings of syntax
and no punctuation. "
14
Marinetti's multisensory ambitions paralleled other efforts
of the moment to create an entirely new syntax that would harness
new technologies and the stimuli of the city, while also offering a
model for those seeking to leave behind representational forms of
picture-making in favor of abstraction. Unlike these contemporary
efforts, however, "Words-in-freedom," Marinetti once explained,
"were born on two battlefields Tripoli and Adrianoplc," and indeed
the development of the form , especially what Douglas Kahn terms
its "military onomatopoeia," was intimately connected to the expe-
rience of war." After traveling to unheard-of heights in an airplane,
and aware of the role of the new aerial war, Marinetti wrote, he
"looked at objects from a new point of view, no longer head on or
from behind, but straight down, foreshortened, that is, I was able
to break apart the old shackles of logic and the plumb lines of the
11
ancient way of thinking. " He elaborated on this "foreshortened"
view in Zang Tt,mb Tt,mb (plate 113), his first published collection
of parole in libertiJ. Begun in 1912 and published in 1914, the work
is a visual/verbal account of Marinetti's experience of the Battle
of Adrianopolis in the Balkan War of 1912, which he covered as
a reporter for the French daily L'lntransigeant. He set out in these
writings to capture the image and noise of mobilized troops, the
heat of their location, and the mechanics of battle. The collection's
Carta sincrona (Synchronic chart), which folded out "like a war map
might unfold from the text of a history book,"" plots the sensory
experience of battle in a diagram that implies a view from above;
phrases include "drawn by an aviator," "So kilometers per hour,"
and "5 silver stars of noise = 5 schrapnels.'' The title Zang Tumb
11
Ttunb aJludes to the sonic component of war. These noises of con-
flict, Kahn explains, "staked a claim within the avant-garde land
grab of the future because they were the newest noises and required
new artistic means for their expression. "" Foregrounding the dra-
matic and aural qualities of the poems, Marinetti performed them
across Europe in 1913, making stops in London, Paris, Berlin, Moscow,
136
and St. Petersburg." He would later acknowledge the need to describe
battles economically: "It would have needed at least an entire page
of description to render this vast and complex battle horizon, had
I not found this definitive lyric equation: 'horizon = sharp bore of
the sun + 5 triangular shadows (I kilometer wide) +3 lozenges of rosy
Ii ht+ 5 fragments of hills+ 30 columns of smoke+ 23 flames.""
g Soon, other artists associated with Futurism began to make
parole in liberta, with topics ranging from battlefields to cafe life.
Francesco Cangiullo called his works tavole cang,ul/rane (plates
11 6-19), a name that inserted his authorship back into Marinetti's
"!"-less efforts. 12 Less focused than Marinetti on the sounds, smells,
and images of battle, Cangiullo instead addressed topics in modern,
especially metropolitan life. In Grande Joule sur la Piazza def Popolo
(Great crowd in the Piazza del Popolo, 1914; plate 117), the letters
of overlapping multicolored words arc rendered at an extreme tilt
to capture the bustle of urbanites crossing a busy plaza in Rome.
This sense of a rushing throng is clear without knowing the words'
meanings, but translations confirm that this is a portrait of a city as
a noisy collage: the plaza includes both women and men, a grand-
mother and a bully; one man "is full of himself," another "cannot
11
succeed at it"; and there are sounds like screams, whistles, and bells.
Pisa (1914; plate u6), meanwhile, describes the experience oflook-
ing out through a train window. The composition, writes Christine
Poggi, "is organized as if it were a pane of glass: the word VETRO
(glass) slashes across the sheet twice ... [and] the paper support is cut
to evoke the forward trajectory of the train as it crosses the Arno,"
24
with its arrival time written in the upper center.
The mirroring and conflation of interior and exterior in Pisa
is characteristic of the openness to contemporary stimuli in both
parole in liberta and Futurism generally. Marinetti well understood
the range and effect of these daily provocations: "Those people
today who make use of the telegraph, the telephone, the phonograph,
the train, the bicycle, the motorcycle, the automobile, the ocean
liner, the dirigible, the aeroplane, the cinema, the great newspaper
(synthesis of a day in the world's life) do not realize that these vari-
ous means of communication, transportation and information have
a decisive influence upon their psyches." 21 To recognize these influ-
ences, to record them, to inscribe them, he wrote of the poetic
process, is to "cast immense nets of analogy across the world. " '
2
Related to Marinetti's openness to stimulation, as well as to
Futurism's valuation and validation of simultaneity, is the mutability
of form and meaning in parole in libertd. As objects that arc at once
picture, text, and evoked noise, they force those that experience
them into triple positions as viewer, reader, and listener. The viewer
Oct us use that word for simplicity) oscillates among these positions,
adjusting constantly as each action demands its own process. Letters,
words, and sentences fulfill many functions at once: words and
sentences may be read to explain an image, offering clues to meaning
or narrative. Letters put together to form onomatopoeic phrases
result in a "'plastic' realization of noise," offering a way for silent
 visual art co function aurally." Letters and words are treated as
ictures, like a rebus or ideogram: a "V" becomes an element in
a banister; an "M" 1s
p · a moun t am;. an "S" 1s
. a win
· d'mg road; cipolle,
which means "onion," is spelled out with multiple "o's" to be seen
as a bushel of onions (plates "4, u9). Depending on how they are
rendered, letters work together to form overall patterns. Although
we can look at each of these characteristics individually, it is when
they slide into each other-when an_ ideogram seems to make
noise, or a readable word acts like a picture, or a sound is less sonic
than visual-that things really get interesting.
Cangiullo's Bello, lettere umanizzate (Beautiful, letters humanized,
1914 ; plate 119) is an extraordinarily detailed object created with
a simple diagrammatic line. The title itself thematizes mutability,
introducing multiple meanings of a single thing, letters, which
become both graphic and human. The sheet is roughly divided in
rwo, the bottom being filled with a semicircle crammed with and
surrounded by hand-drawn letters, words, and phrases in many
styles and sizes. The upper half is more open: a row of sideways
B's runs across the top, a scattering of words and graphic line draw-
ings falls in the middle, and a line of variously sized upside-down
exclamation points sits atop the upper, flat side of the semicircle.
At first glance, I see this image as an open mouth, with the B's
functioning as teeth and a vertical polygon at the bottom as a
tongue. As I begin to read, that image is confirmed: the words
and pictures in the upper middle section below the "teeth" are all
edible-greens, beans, dried pasta, chestnuts, potato, onions, arti-
choke, with some letters taking the shape of the foods themselves.
Other details, though, undermine this cuisine-related reading.
Running around the left part of the half circle is the phrase "Teatro
trasformato in an immane calderone" (Theater transformed into an
enormous cauldron). The half circle is thus both a pot and a stage;
the B's are both teeth and stage lights. And the actors in this the-
ater' They are the upside-down exclamation points standing at
attention, which Cangiullo identifies at the very bottom of the
sheet: "the tallest is Marinetti, the shortest is Carra, the fattest is
[the poet Armando] Mazza, the other one of note is [the composer
Francesco Balilla] Pratella, the one with the goatee is Russolo."
Cangiullo thus offers a picture of the process and ambition of
parole in liberta and of Futurism itself. Within the half-circle are
textual descriptions of the stimulations of contemporary life: words,
phrases, numbers, and letters that represent or evoke transporta-
tion, noise and music, crowds, specific events, warfare, and so on,
as well as examples of onomatopoeia so that we can hear as well
as read and see. Using an exclamation point-a symbol that so
pervades their work that they have fused with it-these FuturiS t
writers, painters, and musicians transform the ordinary into th e
declarative, thus making poetry and agitating modern life.
, F. T. Marinetti, "The Founding and Ma 'f .
Moonshine: Selected Writings ed ~1 :t~ _o f Futunsm," 1909, in Marinetti, Ler's Murder
os Angeles: Sun and Moon Classi~s ~nd N . int, trans. Flint and Art hur A. Coppotell1
ed. 1991), pp. 48-49. , ewYork: Farrar,Straus and Giroux, 1971, repri nt
2 Fo~t~e."whirlingpropeller,"seeMarinetti "T . .
1912, in ibid ., p. 92· for "Futurist su . " , echnical Manifesto of Futurist literature"
Splendor and the Numerical Sensi~fi~:s:, see_M~r_inetti, "Geometric and Mechanical ,
Mar'.netti, "Tactilism," 1924, in ibid
1
.?'~;
~' in ibid., P-107; for"I keep hitting."see
to Gian Piet ro lucini,Revo/verate -~P~ 7, or ou_ t of ~n _atmosphere," see Marinetti, preface
Futurism," in Marinetti=Futurism~ 9 :, quot~ in lutg1 Sa~sone, "F. T. Marinetti: Emblem of
3 . Even given the"manifesto fever': ~;th~at. r~rlan: Fon?az1one Stelline, 2009), p. 269.
discussion of the manifesto fo . h pe iod, Futunsm stands out. For that term and a
Avant-Garde Avant Guerre a:;;~~ e i 9 ios, see Marjorie Perloff, The Futurist Moment·
1986), p. 8 1 a~d more gener~lly : ~nguageof Rupture (Chicago: at the University Pre~s,
4 Marin tr1 "Th • pp.
0 115
·
S e • . eFoundingandManifestoofFuturism"p 51
;:::~i,~.
s ee translations of these manifestos in M , . . .
(Lincoln and London · U . . f ary Ann CawS, ed.,Mamfesto: A Century of Isms
6 Perl ?ff, ~he Futuri~t ~~braska Press, 2001).
;h~r:n~ttl d~scribes th e need for "l'accusationprecise, l'insulte bien defmie"in a letter to
ibid., :.~~-n wnter Henry Maassen, dated between 1909 and the first half of 1910. Quoted in
•MSe_
; , e.g., Umberto Boccioni etal., " Futurist Painting: Technical Manifesto" 1910 in caws
am,esto, p. 181. ' ' •
: Marinetti, " Tech nical ~anifesto of Futurist Literature," in Let's Murder the Moonshine, p. 92.
0
See U~bro ~pollonio,ed., Futurist Manifestos, trans. Robert Brain, F!i nt,J. C. Higgitt,
: d Car~hne Tisdall ( New York: Th~ Vikin.g Press, 1973), pp. 95-106, and Let's Murder the
oonshine, pp. 105- 11. On the relat1onsh1p between these three texts and their distinct
goals see Sansone, " F. T. Marinetti," pp. 276- n.
11
F~r " ~estro_rsyntax," "acceleration," and "love," see Marinetti, "Destruction of Syntax-
lmag1n.at1on ~1thout Strings-Words in Freedom," 1913, pp. 98, 96; for "precision and
essentia l brevity" and "lyric equations," see Marinetti, "Geometric and Mechan ical Splendor
and the Numerical Sensibility," p. 110; for "fluency" see Marinetti, "Geometric and Mechanical
Splendor and the Numerical Sensibility," p. 107.
12 Marinetti, "Destruct ion of Syntax- Imagination without Strings-Words in Freedom,"
p.104.
u Marinetti, "Geometric and Mechanical Splendor and the Numerical Sensibility," p. 109.
14 Marinetti, "Destruction of Syntax - Imagination without Strings-Words in Freedom,"
p. 99.
15 Marinetti, "From the Cafe Bulgaria in Sofia to the Courage of the Ita lians in the Balkans
and the Mi litary Spirit of Desarrois," quoted in Douglas Kahn, Noise, Water; Meat: A History
of Sound in the Arts (Cambridge, Mass.: The MIT Press, 1999), p. 376.
,, Marinetti, "Technical Manifesto of Futurist literature," p. 96.
11 This is Linda Landis's description. See her"Futuristsat War," in Anne Coffin Hanson , ed .,
The Futurist Imagination: Word+ Image in Italian Futurist Painting, Drawing, Collage and
Free- Word Poetry(New Haven: Yale University Art Gallery, 1983), p. 61.
11 Marinetti,Zang Tumb Tumb: AdrianopoliOttobre 1912: Parole in LiberttJ (Milan: Edizioni
Futuriste di "Poesia", 1914), p. 67.
,, Kahn ,Noise, Water; Meat, p. 59. Carlo Carra published what he called Guerrapittura, 1915,
a book of"Futurist politics, plastic dynamism, war drawing, and free-word poetry." See
Landis, "Futurists at War," p. 64 and the essay generally.
2o Marinetti describes a reading/performance at the Dore Gallery, London,on April 28, 191,i:
" Dynamically and synoptically I declaimed several passages from my Zang Tumb Tuumb
(the Siege of Adrianople). On the table in front of me I had a telephone, some boards, and
matchi ng hammers that permitted me to imitate the Turk ish general's o~ders and the
sounds of artillery and machine-gun fire." Marinetti, "Dynamic and SynoptK Declamation ,"
1916, in Let's Murder the Moonshine, p. 155. . .. "
21 Marinetti, "Geometric and Mechanical Splendor.and the N~mencal Sens1b1h~, p. 110.
22 See Christine Poggi, In Defiance of Painting: Cubism, Futurism, and r~e1n;ent1onof
Collage (New Haven: Yale University Press, 1992), p. 213. Fra.ncesco Cang1ullo s.work, often
hand drawn, is also sometimes referred to as tavo /a paro/1bere (fre_e-wo~d pictures).
am grateful to Laura Beiles for her translat ions and for fruitful d1scuss1onsof the works
23 1
d iscussed here.
24
~o~i, ;.~;::;~ction of Syntax.- Imagination without Strmgs-Words m :reed~m,"
25
Guillaume Apollinaire had expressed a similar_attitude to metropo h_tan st1muh,
6
p. ? · · ~'You read prospectuses catalogues and posters which shout aloud/Here 1s p.oetry
w~iting . df rose there are the newspapers/There are volumes for 25 centimes fu ll
~;:~~~;,t~
th1
s mor~~:gs~:rie~J:Ortraits of famous men and a thous~n~ assorted titles." Apollmaire ,
13
, in The Selected Writings of GuillaumeApolhna,re, ed. and tran s. Roger
' k (N wYork· NewDirections, 1971), p. 117- . ,,
; :ai~r~nett~ "Dest;uction of Syntax - Imagination without Strings - Words m Freedom,
P· 98. . Po i uses this phrase to describe Giacomo Balla's
27 In ~n Def1a~ce of Paintm~:~~;~·ese~om 1914, she writes, "Balla had written an onomato-
experiments i~ ~ou nd. Of olve t ewnters to be played simultaneously, each p~r form~r
poeic compos It1on for twe YP ·nutes" Balla also made parole m liberra.
repeating a single sound for two con t 1nuous m1 .
137
 113. IIIIPPO TOMMASO MAHINHTI. Cover of
Zang T~m~ Tum,b: Adrianopoli Ottobre , :
912
Parole m L1berta {Zangtumb tumb: Adriano
1
October 1912: Words in freedom) , 1914 , lett:re,
press, page (irreg.): 8 1h6 x 5 5116" (20. )( 1 -
4
Publisher: Edizioni Futuriste di uPoesia}•S crn).
Milan. The Museum of Modern Art, New ;Ork
Gift of The Judith Rothschild Foundation ·
(Boris Kerdimun Archive)

114. flllPPO JOMMASO MAHINEfll. Vive /a France

1914-15. Ink, crayon, and cut-and-pasted printe~
paper on paper, 12 1/s x 12 ¼" (30.9 x 32,6 crn).
The Museum of Modern Art, New York. Gift of
the Benjamin and Frances Benenson Foundation

115. GIACOMO BALLA. Posterforanexhibitionat

the Galleria Angelelli, Rome. 1915. Watercolor on
9
paper, 37 x 25 /16" (94 x 65 cm). Private collection

N
S. '

138
139
 w!;/;11 Jo~-;;'
j

·vo,// /;;;:";' ,I

116. IRANCESCO CANGIUIIO. Pisa. 1914.

Tempera on paper, 22 7t,6 x 29 1/s" (57 x 74 cm).
Private collection

111. fRANCESCO CANGIUIIO. Grandefoule

sur la Plazza del Popolo (Great crowd in the
Piazza del Popolo). 1914. Watercolor, gouache,
and pencil on paper, irreg.: 22 7!,6 x 28 lS/16
(57 x 73.5 cm). Private collection

140
118
· GIACOMO BAUA and FRANCESCO CANGIULLO.
P•~••oce (Tactile word). 1914. Ink on paper,
14 116 1 I
• 9 ' •" (37 • 24.5 cm). Private collection

;:- fR~NCESCO CAN61Ull0. Bello, /ettere uman/zzate

f
10 ~,•ut,ful,
81116
letters humanized). 1914. Pen on paper,
" " (27.6 • 21.4 cm). Private collection

141
142
 ~ - e.Q..\ll\11\LeNl'i - ,. \u,~ W,, (2..,~E..
• Q<J17"'ZJO t,. !~
, ,;~ -1-1.P~ kJC1~c..

- II .
Pt1c • _o,,.r-'
·-~~
.;.c,,,

120. FORTUNA JO DEPERO. Campanelli (Tavola

~' ".ur')',¥;
onomalinguistica) (Bells [onomalinguistic
picture]).1916. Ink on paper, 181/e x 14 3116"
(46 • 36 cm). Mart-Museo di arte moderna e
contemporanea di Trento e Rovereto

121. fORJUNAJO DEPERO. Paesaggioguerresco

numerico (Numerical warlike landscape). 1915.
Watercolor and pencil on paper, 16 5'16 x 19 ½"
(43 • 49.5 cm). Collection Rachel Adler

122. fORJUNAJO DEPERO. Pianoforte moto-

rumor/sta (Mobile noise-making piano). 1915.
Ink and watercolor on paper, 12 13'16x171/e"
Cl 2 -5 • 43-5 cm). Mart-Museo di arte modern a
e contemporanea di Trento e Rovereto
12
3- fDRJUNAJO DEPERO. Complesso p/astico
tnotorumorista a lumlnosltiJ co/orate e spruzza-
to,; (Mobile noise-making plastic complex with
colored light and sprays). 1915. Ink on paper,
65116 11
>c 6 116" (16 x 17 cm). Mart-Museo di arte
Rloderna e contemporanea di Trento e Rovereto

143