The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This article recounts an interview of Filippo Tomasso Marinetti conducted by Rafael Lozano when he visited the Italian poet in Paris. The text provides an ample description of the new “tactile” aesthetic that the futurist promoted as well as some parole in libertà [liberated words] on the topic of sensation. Marinetti upholds Tactilism as a “new” trend in art, but according to Lozano it has always existed. He also lists the steps that the Italian poet took to give new drive to the sensory experiences that had previously been so neglected.
Although Rafael Lozano (1899-) had kept his readers informed of the happenings of the avant-garde, on this occasion his article concerns the impact of Dadaism during Filippo Tomasso Marinetti’s (1876-1944) lecture. The Italian poet differentiates between the potential for a futurist renewal in spite of the anti-art posture of its opponents that coincides with the Mexican critics’ rejection of Dadaism.Dadaism and Futurism were important for the emergence of Estridentismo (1921-1927) in Mexico; it was a movement focused on strategies of agitation and a limitless affinity for machine-like aesthetics. The movement, which was similar to the aforementioned European avant-garde, thus advocated a new urban sensibility wherein experiences smash together simultaneously, in a manner similar to the speed of modern life. The name of the movement refers to the noise of the city, but also to its desire to be heard through its embedded transgressions and excesses.