Vinicio Paladini

This chapter addresses the theoretical and ideological development of the
so-called ‘machine art’, which was outlined in 1922 in a homonymous manifesto by the painters Ivo Pannaggi and Vinicio Paladini and launched later that year in a revised version signed by Enrico Prampolini. While scholars have largely tackled the thematic specificity and visual impact of this text within the general development of Italian Futurist art in the course of the 1920s, they have failed to take up the issue of its specific place in the ongoing construction of the European artistic framework of the 1920s. This essay aims to redefine the history of the concept of Futurist machine art from a different perspective, by highlighting its complex and contradictory relations with contemporary artistic practices in Europe and with the emergence of Constructivism.

Nella prima metà del Novecento, in linea con una tendenza europea più generale, la letteratura italiana si dimostra particolarmente permeabile alla tematica dell’onirismo. Partendo da una riflessione teorica su come reagisce la letteratura agli innumerevoli studi sul sogno e sul sonno pubblicati in Europa a partire da fine Ottocento (Freud, Ellis, De Sanctis, Lombroso, Sighele), emerge l’originalità del trattamento del mondo onirico tra il 1900 e il 1940. Il sogno diventa una specie di chiave di volta dell’immaginario della modernità, come dimostrano le incursioni degli studi di Béguin, Bergson, Calgari e Praz. Se la letteratura ha sempre parlato di sogni e di sonno, la modernità letteraria tra fine Ottocento e inizio Novecento crea un canone intorno alla produzione teorica e poetica che parla come il sogno. La frammentazione, la prosa poetica, l’intercambiabilità tra realtà e finzione, l’arbitrarietà, l’ossimoro e la contraddizione diventano l’alfabeto di base del nuovo ‘stile del sogno’, che contamina poesia e prosa, estendendosi ai vari testi manifestari dell’epoca. Gli autori analizzati appartengono essenzialmente alla modernità e alle avanguardie – futurismo, frammentismo, immaginismo, neoromanticismo e metafisica: Boine, Betocchi, Canudo, Cavacchioli, De Chirico, Depero, Evola, Marinetti, Martegiani, Paladini, Papini, Pirandello, Prezzolini.

The publication introduces two key theoretical programs of Italian Futurism art in the period between the World Wars: the Futurist manifesto of Mechanical Art (L'Arte Meccanica. Manifesto futurista, 1922) and the Futurist manifesto of Aeropainting (Manifesto futurista dell'aeropittura, 1931). The detailed commentary, accompanying the first Russian publication of these documents embraces the history of their appearance and the creative biographies of their authors, as well as their relation to prewar Futurism theory and contemporary art movements, the connection between conceptual ideas and artistic practice. The cult of the Machine and the myth of the Flight defined the aesthetics and the poetics of the Italian futurism in 1920's and 1930's and became the distinctive "archetypes" of the Avant-Garde culture. The complex of these ideas and images makes the major contribution of the Italian Futurism to the European art of the 1920's and 1930's, which is still unsufficiently studied.

Lazareva E.A. "'Mekhanicheskoye iskusstvo' i 'Aerozhivopis': K istorii glavnykh esteticheskikh programm italianskogo futurizma 1920'kh - 1930'kh godov." Iskusstvoznanie 1-2 (2010), pp. 530-548.

The recent discovery and restoration of the murals that Giacomo Balla painted in the Bal Tik Tak commissioned by Ugo Paladini in 1921 have revived interest in the painter and his interventions on furniture and decoration derived from his manifesto Ricostruzione futurista dell´universo (1915). This article reconstructs Balla´s intervention based on the scarce graphic evidence and sketches for the setting of the Roman premises. It also highlights the programmatic dissolution between the lines of art and life based on the reviews of its inauguration, the venue and its music that turned the Bal Tik Tak into one of the emblematic venues of the mundane Roman nights. Its success led to the creation of other similar Futurist venues such as the Cabaret del Diavolo in 1922 and the Cabaret della gallina a tre zampe in 1923 and influenced other similar venues of the European avant-garde.
Setting, furniture, reconstruction, avant-garde, heritage

El reciente descubrimiento y restauración de los murales que Giacomo Balla pintó en el Bal Tik Tak comisionado por Ugo Paladini en 1921 han recuperado el interés por el pintor y sus intervenciones sobre mobiliario y decoración derivadas de su manifiesto Ricostruzione futurista dell´universo (1915). Este artículo reconstruye la intervención de Balla a partir de los escasos testimonios gráficos y bocetos para la ambientación del local romano. Asimismo, incide en la programática disolución entre las líneas de arte y vida basadas en las reseñas de su inauguración, el local y su música que convirtieron al Bal Tik Tak en uno de los locales emblemáticos de las mundanas noches romanas. Su éxito sirvió para la creación de otros espacios futuristas similares como el Cabaret del Diavolo en 1922 y el Cabaret della gallina a tre zampe en 1923 e influyó en otros espacios similares de la vanguardia europea.
Ambientación, mobiliario, reconstrucción, vanguardia, patrimonio.

La recente scoperta e il restauro delle pitture murali che Giacomo Balla dipinse nel Bal Tik Tak commissionato da Ugo Paladini nel 1921 hanno fatto rinascere l'interesse per il pittore e per i suoi interventi sull'arredamento e la decorazione derivati dal suo manifesto Ricostruzione futurista dell'universo (1915). Questo articolo ricostruisce l'intervento di Balla sulla base delle scarse testimonianze grafiche e degli schizzi per l'allestimento dei locali romani. Inoltre, evidenzia la dissoluzione programmatica tra i confini dell'arte e della vita sulla base delle recensioni della sua inaugurazione, del luogo e della sua musica che hanno reso il Bal Tik Tak uno dei luoghi emblematici delle notti mondane romane. Il suo successo servì per la creazione di altri spazi futuristi simili, come il Cabaret del Diavolo nel 1922 e il Cabaret della gallina a tre zampe nel 1923, e influenzò altri spazi simili dell'avanguardia europea.
Ambiente, arredamento, ricostruzione, avanguardia, patrimonio.

Aim: Inflammatory myofibroblastic tumors (IMTs) are uncommon neoplasms of intermediate biologic behavior that typically present in the lungs of children and young adults but may occur elsewhere in the body. The head and neck is an unusual site of involvement and in the jaws these are even less common. The purpose of this study is to present a central IMT arising within the mandibular bone of a seven year old female and to analyze the available literature of intrabony/central IMTs of the jaws.
Methods: Publications in the English language literature on central IMTs arising within the jawbones were located by a PubMed and googlescholar search of case reports and series.
Results: 25 cases including the present one were included. The mean age of the patients was 34.8 ± 19.6 years. The mandible was affected in most cases. All cases were osteolytic, all but the present one were unilocular, and more than 50% were well defined. Bony expansion was evident in 42.8% and root resorption in 53.8% of the cases. The lesions were composed of spindle fibroblastic and myofibroblastic cells with a variable inflammatory infiltrate, most commonly lymphocytes (85%) and plasma cells (75%), but other inflammatory cells such as neutrophils, eosinophils and mast cells were also present. Immunohistochemically smooth muscle actin was positive in 100% and ALK1 was positive in 6 of 14 cases (42.8%). 2 cases were h-Caldesmon positive. The present case stained diffusely with an antibody against Paladin, implicated in mesenchymal transition process of metastatic breast carcinoma. Treatment options consisted mostly of surgery, but pharmacological therapy with glucocorticoids and combinations of these were also documented.
Conclusion: Central IMT of the jawbone is a rare tumor that could have an alarming clinical presentation. The differential diagnosis of spindle cell lesions accompanied by inflammatory infiltrate in children is diverse; Paladin antibody could be used to emphasize the myofibroblastic nature of the lesion.