garage BENTIVOGLIO

The first time that futurism arrived in Bologna was in the second half of the fifteenth century, when Niccolò dell'Arca brought out of the terracotta the aphonous pain of Mary Magdalene, who, like a new Nike, runs and reaches out to the body of Christ. \nFive centuries must pass when, by some students of the Florence Faculty of Architecture, futurist forms and research find new life in the city. The last offshoot of the radical Florentine avant-garde, Bolidism recovers the syntaxes and codes characteristic of the Futurist movement and applies them to industrial production. Among the main exponents is Massimo Iosa Ghini, who mixes his academic studies with the suggestions and stimuli that come to him from the DAMS and from the Bolognese artistic environment. \nIf the first radical wave had found in drawing and collage the most effective forms of expression in describing her projects, Iosa Ghini chose comics, in continuity with artists such as Pazienza, Igort, Jori and Carpinteri, whom she has the opportunity to frequent in the lively city scene. The architectural forms of the futurists Chiattone and Sant'Elia are mixed with American steamline and in the drawings the buildings are transfigured into real racing cars. \nAnd like cars, Iosa Ghini also imagines her chairs: the Number One (1986), the Juliette (1987), the Dynamics (1988) and the Notorius (1988), stretched forward like Dell'Arca's Maddalena, are reminiscent of the large Chrysler fenders of the 1930s. And so the Robins (1989) saturate the BENTIVOGLIO garage space, like a car that leaves behind the trail of a crazy race.