In the past 20 years there has been a remarkable upsurge of interest in Futurism in most
countries formerly situated east of the Iron Curtain.Although Russian Futurism was always
well-known the multifaceted extensions of Futurism in other Eastern countries were not much
reported on in Italy and became nearly forgotten after 1945. However since 1989 a wealth of
original material has been rediscovered both in the literary and the artistic field. In this
volume sixteen experts are presenting a wide spectrum of new findings on artists who operated
within the shifting coordinates of the international avant-garde and contributed to the often
osmotic relations between Futurism Dada and Constructivism.The essays in this volume include a
discussion of the multi-national character of Futurism in Central and Eastern Europe and the
colonialist absorption of avant-garde practices in the Soviet Union the Berlin directorate of
the Futurist movement and its modes of operation in the international avant-garde scene of the
1920s the infiltration of Futurism in the typographical practices of Czechoslovakia Hungary
and Poland the hitherto almost unexamined contacts between Latvian artists and Futurism
Polish Responses to Italian Futurism the similarities and differences between Zenitism and
Futurism the artistic ambitions of the Ukrainian Pan-Futurists in the 1920s the Futurist
experience in Transcaucasian Georgia the reception of Futurist ideas in the Activist circles
of Hungary the public presence of a mute Futurism in the Czech avant-garde Marinetti's visits
to Bucharest and Budapest in the 1930s the hybrid identity of the Bulgarian artist Diulgheroff
and his career as an architect and designer in Turin the role of Italian Futurism in the
Slovenian interwar avant-garde the aesthetic affinities and political divergences between
Italian and Romanian Futurism.
