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Quicksands of Typography: The Futurist Experience in Central Europe during the 1920s

For the Futurists, typography was not a domain subservient to poetry, painting or the architecture, but rather an integral component of them. Thanks to the concept of parole in libertà, typography infi ltrated all types of works and gave them a special Futurist stamp. Before Czechoslovakia, Hungary and Poland adopted the tenets of International Constructivism, the Futurist aesthetics brought them a vital breath of fresh air. Typography in a wider sense of the word (construction of letters and layout) took on Futurist accents in poetic texts, on book covers, as well as in works of fi ne art and architecture. The textual creations were given by their authors various new genre designations, such as “poem-pictures” or “picto-poetry”. These works did not obey rigid rules; rather, their major characteristic was inventiveness and playfulness. In the dynamic exchanges between various Central European countries – which also included Yugoslavia, Romania and parts of Germany – Futurism was not accepted without reserve and poets and artists concurrently yielded to Dadaist and Constructivist infl uences. This particular context gave birth to many works that address subjects typical of the modern world (the ‘Big City’ or the machine) but in a hybrid manner that cannot be subsumed under one exclusive label.