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SUMMARY:Futurama. Nostalgia for the Future
DESCRIPTION:Curated by Chiara Gatti and Elisabetta Masala \nin collaboration with Storyville \n4 July – 15 November 2026 \n\nFUTURAMA concludes MAN’s exhibition trilogy devoted to the ways human beings construct their relationship with reality\, the environment\, and time. Following SENSORAMA\, which explored perception as a cognitive structure\, and DIORAMA\, which examined post-natural ecologies and the reconfiguration of the relationship between the human and the non-human\, FUTURAMA focuses on the imagination of the future as a cultural\, political\, and emotional device. \nThe exhibition takes its title from the celebrated Futurama attraction presented by General Motors at the 1939 New York World’s Fair\, a spectacular installation that offered five million visitors an idealized vision of America’s tomorrow. Through vast immersive models designed by Norman Bel Geddes\, the future took the form of rational metropolises traversed by skyscrapers and elevated highways\, urban landscapes organized around the dominance of the automobile and the myth of technological efficiency. It was a future that appeared orderly\, luminous\, conflict-free\, and capable of guaranteeing prosperity and control. FUTURAMA draws upon this futuristic vision to reflect on an era in which progress seemed not only desirable but inevitable. The post-war decades ushered in a period of radical optimism\, fueled by economic growth\, scientific achievements\, and technological acceleration. The space race\, industrial automation\, and the emergence of computing fostered the belief that humanity was entering a phase of definitive emancipation from material and biological limitations. \nThis confidence gave rise to a widespread aesthetic of the future that permeated every field of visual culture. Artists experimented with new industrial materials—as exemplified by Gino Marotta’s methacrylate bestiary—and new conceptions of space\, as seen in Giulio Turcato’s Lunar Surfaces and Lucio Fontana’s Spatial Concepts. Design and architecture conceived modular environments and dynamic surfaces\, while fashion embraced geometric lines and abstract cuts in direct dialogue with contemporary artistic research. The exhibition unfolds through iconic objects of 1960s design\, characterized by an aesthetic approach that materialized fantastic visions through form and colour\, and includes a fashion section curated by Michela Gattermayer. At the same time\, science fiction populated the collective imagination with robots\, interplanetary travel\, and hyper-technological societies. Popular culture played a crucial role in this process. The first Japanese robot toys of the 1950s\, inspired by American science fiction and anticipating the giant “super robots” of later animation\, transformed fascination with machines into playful objects. Science-fiction book series helped disseminate visions of the future as a realm of adventure\, discovery\, and limitless possibility. A remarkable selection of Urania publications from the Arnoldo and Alberto Mondadori Foundation is presented in the exhibition. \nAmong the exhibition’s most compelling sections are video installations dedicated to science-fiction cinema and the Space Race\, the symbolic arena in which the Cold War rivalry between the United States and the Soviet Union was played out. \nFUTURAMA reconstructs this period of profound faith in progress as a genuine aesthetic utopia\, when technology was perceived not as a threat but as a promise of liberation from labour\, deprivation\, and even mortality itself. Yet the exhibition gradually reveals the fractures underlying this vision. The very forces that fuelled modernist optimism also generated new forms of inequality\, alienation\, and ecological fragility. Intensive industrial growth\, uncontrolled urban expansion\, and an unquestioning reliance on technology produced environmental and social consequences that the utopia of progress had failed to foresee\, although artists such as Piero Gilardi sensed them early on. With the decline of the grand narratives of modernity and the emergence of postmodernism\, the future ceased to appear as a shared promise and became an unstable territory\, often represented through dystopian or paradoxical scenarios. \nOver recent decades\, global traumatic events have further eroded confidence in the future. Wars\, financial crises\, environmental disasters\, pandemics\, and renewed geopolitical conflicts have exposed the systemic vulnerability of contemporary societies. In this context\, narratives of the future oscillate between renewed techno-optimism—which entrusts digital and scientific innovation with solving every problem—and nostalgic retreats into identity\, tradition\, and models of the past. \nFUTURAMA interprets this condition as a manifestation of the paradox of hypermodernity: an age marked by constant acceleration\, information overload\, and rapid transformation\, generating both enthusiasm and anxiety\, boundless possibility and a pervasive sense of lost control. The exhibition introduces the notion of a “nostalgia for the future”: an emotional tension in which the desire for a better tomorrow endures despite the uncertainties of the present. What is missed is not the past itself\, but the twentieth century’s confidence in change and its capacity to imagine the future as a collective horizon. \nBy bringing together utopian visions\, aesthetics of progress\, and critical perspectives on the contemporary condition\, FUTURAMA opens a shared space for reflection. Rather than simply diagnosing a crisis of imagination\, it invites visitors to reactivate the possibility of conceiving plural\, desirable\, and conscious futures\, restoring to the future its role as a horizon to be collectively imagined and constructed. \n\nArtists  \nValerio Adami\, Vincenzo Agnetti\, Getulio Alviani\, Enrico Baj\, Agostino Bonalumi\, Davide Boriani\, Achille e Pier Giacomo Castiglioni\, Fabrizio Dusi\, Mario Schifano\, Lucio Fontana\, Piero Gilardi\, Pietro Gallina\, Gianni Colombo\, Sergio Lombardo\, Gino Marotta\, Germana Marucelli\, Pino Pascali\, Alberto Rosselli\, Paolo Scheggi\, Giulio Turcato\, Grazia Varisco \nThe exhibition is accompanied by a catalogue featuring essays by Carlo Antonelli\, Paolo Campiglio\, Michela Gattermayer\, and Silvia Casagrande.
URL:https://www.museoman.it/en/event/futurama-nostalgia-for-the-future/
CATEGORIES:Future Exhibitions
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