A new exhibition at Poster House New York examines the troubling relationship between artistic creativity and political propaganda during Benito Mussolini's fascist regime in Italy. Running through February 22, the show features 75 pieces from the prestigious Fondazione Massimo e Sonia Cirulli collection in Bologna, Italy, revealing how the Italian dictator strategically used art and design to build his political brand and control national culture from 1922 to 1943.
Mussolini, who founded and led Italy's National Fascist Party, was born in the small town of Dovia di Predappio, where he is also entombed today. The location continues to attract thousands of tourists each year, including neo-fascists who come to celebrate the former leader's reign. Before becoming Il Duce - a title that typographically screams when written in all capital letters - Mussolini worked as a journalist, publisher, and novelist, experiences that shaped his understanding of media and messaging.
The exhibition reveals Mussolini's deep fascination with the radical Futurist movement, which championed modern technology and supported what they called the "bloody transfiguration of the state." According to Poster House's exhibition description, the dictator was "smitten to the extreme" with aggressive activist artists and designers who helped create a comprehensive visual culture that extended from the Futurist movement into advertising, propaganda, and the very core of Italian national identity.
Curated by B.A. Van Sise, a photographic artist and author, the exhibition primarily focuses on how language and visual forms intersected during this dark period of Italian history. The show draws from an important private collection of more than 10,000 artworks, documents, and artifacts dedicated to 20th-century Italian culture. While the timing seems particularly relevant given contemporary concerns about rising authoritarianism and its impact on culture, organizers clarify that any parallels between today and 100 years ago were not intended as a political statement.
The exhibition explores what Van Sise describes as "a fragile line drawn between the artist and ideologue," examining how the decision to move away from Socialist and National Socialist realism helped both define and conceal the broader goals of the fascist state. This artistic strategy had profound impacts on the Italian national psyche during the rise and fall of fascism. The show demonstrates how good design was systematically used to promote bad intentions, creating a complex moral landscape for the artists involved.
The Fondazione Massimo e Sonia Cirulli, which serves as the primary lender for the exhibition, aims to promote 20th-century Italian art and visual culture through a multidisciplinary approach. The foundation's broader mission includes creating an international center for studying and sharing Italian creative culture from the early 1900s through the 1970s, encompassing decorative arts, architectural design, industrial design, graphic design, and illustration.
Among the notable Italian masters represented in the collection are Giacomo Balla, Fortunato Depero, Lucio Fontana, Osvaldo Licini, Bruno Munari, Gio Ponti, Luigi Russolo, and Mario Sironi. Many of these artists worked across multiple disciplines, practicing applied art, fine art, and advertising both in service of the fascist revolution and to advance their own professional reputations. This dual motivation adds another layer of complexity to understanding their work and legacy.
The materials presented tell the story of modern Italian culture from multiple perspectives, offering visitors a comprehensive view of how artistic expression and political power intersected during one of history's most troubling periods. The exhibition design was created by Ola Baldych, Director of Design and Exhibits at Poster House, providing an appropriately thoughtful presentation for such sensitive historical material.
