When you don’t feel good, you paint.
Solidity of Fog, 1912
Luigi Russolo (Italian, 1885-1947)
Masterpieces of Futurism at the Peggy Guggenheim Collection honors, among other collectors and artists, two forward-thinking men. First, it marks the 100th anniversary of the publication of the “Futurist Manifesto” by writer Filippo Tommaso Marinetti (Italian, 1876-1944) in Le Figaro. Second, it showcases the foresight of Italian businessman and art collector Gianni Mattioli (1903-1977) who amassed numerous Futurist works long before they were fashionable. The Mattioli Collection has made 26 works available to the Guggenheim in Venice on a long-term, renewable loan, and here they are intermingled with the Guggenheim Collection’s own pieces.
PEGGY GUGGENHEIM’S GALLERY
Tancredi, Composition, 1955. Oil and tempera on canvas, 51 x 76 3/4 inches (129.5 x 195 cm). The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
Jean-Francois Chevrier said ‘the document provides facts and is a fact in itself’, which, cleverly pointed out a question that ‘how documentaries should be regarded’?
Directors use their cameras to record and present a sheet of facts in front of the spectators, but during this process, it’s a procedure about choosing. To the directors, they need to choose what to be shot in their films, how to shoot it; while to the spectator they need to choose what information they want from the films. so during this procedure the original object been filmed has already gone through as least two filters, which, in some extent, been twisted at least twice. When we were watching Arun’s documentary ‘volume zero’, we got to know about the great architect Charles Correa, we got hold of his general ideas about his works, we approached his thoughts through the interviews, stills, diagrams, animation etc., and without doubt we know that is a brilliant documentary, it’s well-shot, well-edited, well-preformed, well-made, it’s touching and moving and convincing, and it’s a piece of art work. How real can a nice piece of art work be?
As put out in the beginning, the document itself shaped a fact, and this existence of fact is trying to illustrate another existence of fact. No matter how hard we tried to reserve every fact stay in the state of fact but the outcome will more or less contain the objective emotion, perspective, feeling and attitude of the director, which would be added upon the fact.
However, this is not to say that the documentaries are not successful or not good, but we may see that all the documentaries are dialectical, and as long as they’re dialectical, we would be able to seize some new artificial ideas and make them more like humanity.