Page 81 - Exploring Taste Magazine N.2

HERITAGE—AEREOBANQUETS, POLIBIBITE & LAMBRUSCO

radition: a diametrically opposed concept to the this undertaking, designing and making advertising manifestos
pursuits of Futurism, one of the most powerful cul- and helping to create furniture, ornaments, toys, tapestries and
tural movements to ever arise in Italy. Yet, whenev- many other designer objects. This f exible nature distinguished
T er these famous madcaps talked about the matter, the spirit of all Futurists, who were fans of putting their creativity
they never failed to praise and venerate a drink that is as old as to the test in other f elds, without relegating it to mere, tradition-
time – wine. The Futurists did not buy into the topos of the solitary ally-interpreted artistic practice. However, the piece in which the
artist. Quite the contrary, they loved the night life and socializing artist allowed himself to unleash his ref ned sommelier and lyri-
and what better fuel than wine to get a dinner, a glitzy event or an cist skills to the fullest is his long poem from 1934, which is part of
aereobanquet of the ground? Liriche Radiofoniche – Radio Lyric Poetry. Entitled Quattro bocche
Of course, gastronomy was integral to tradition, and as such, it had assetate [Four Thirsty Mouths] it is a passionate ode to wine that
to be renewed: the Futurists invented new drinks, new culinary sees four mouths poetically talking about the sensations provoked
styles and utterly innovative ways of experiencing a meal. When it by tasting four types of dif erent wines. It is a real exercise in
comes to painting, the artist who exploited the theme of drinking synaesthesia (the ability to perceive and connect smells, sounds,
more than any other has to be Fortunato Depero, a representative of colors and f avors all together). Here we’ve provided the f rst two
the second wave of Futurism and author of the aereopainting man- stanzas. One mouth comments on a “still” wine and the other on
ifesto. In 1944 Depero painted a piece called “Riti e splendori d’os- a “sun-kissed” bottle.
teria” [Tavern Rites and Splendors] in which a series of men toast
with bottles and raised glasses. It is a happy, festive scene in which I want dry wine...light red...
we can recognize the squat Duralex glasses with concave grooves, with ruby transparency.
while there is a man looking through a stemmed glass in the center Bringing the glass to my lips
of the painting. It’s not hard to see the act of tasting in this gesture: an aromatic warmth should slightly intoxicate me.
the protagonist of the painting is a sommelier. On the palate it must appear still, supple and refreshing.
This painting by Depero was created during the autarchy period, It must slide down my throat like a
when the Fascist regime was working hard to promote the image crystalline cascade of gathered peace and silent poetry.
of the state to limit foreign imports as much as possible. Wine, a In the nuances of color, I must see the graceful line
quintessentially Italian product, represented one of the bastions of its slim, clear contour,
of the national economy. That is why, while the Futurists may the blood orange hue of f ltered strawberry
have had no fear in experimenting with recipes and proposing with bluish veins of the pure air of the Alpine foothills.
original f avor pairings, they stuck to the “classics” when it came Preparatory wine... adolescent.... spring-like
to wine, favoring Lambrusco in particular. Advertising that was that creates the feeling of an internal cleansing,
more aggressive and seductive than ever before worked hard to of a healthy grooming of the muscles
make Italian products more appealing. Depero also took part in and slight optimistic warmth!

The Futurists did not buy into the topos of the solitary artist. Quite the contrary,
they loved the night life and socializing and what better fuel than wine to get a dinner,
a glitzy event or an aereobanquet off the ground?

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