Tom Pupo_ Metropole / Colony Exhibit Analysis

METROPOLE/COLONY ANALYSIS

Italian fascism manifests its image very quickly through the medium of modernity in technology, material symbolism, architectural gestures, and its social influence.  It is easy to gain power when people believe in a greater meaning or cause, and the belief in that grander gesture makes people want to bring this change themselves.  This is very apparent in the works shown in Metropole/Colony : Africa and Italy.   The prevalent use of the airplane as a recurrent theme speaks of its ambitions in many ways.  It speaks of technological advancement, national power, and growth through colonization as well as the opportunities of globalization opened up to its Nation.  The poster that depicts the people giving up their gold rings for steel ones has quite a few meanings as well.  First it is a visual testament that reinforces the devotion and pride the people had for their nation, but it also speaks of a sacrificial offering of the old (financial) values of gold, and embraces the symbolic (ideological) values of steel which shows the acceptance and desire for the modern material and of modernization in general.  The products, machines, buildings, and airplanes were all made of steel, so it is easy to correlate this material to the idea of progress.  The architectural works being designed also carried these themes. The poster that displays the design of the Roma 1942 arch by Giorgio (1939) forms a symbolic reference to the trajectory of the flight of an airplane bridging nations.  It speaks of technology, power, growth, and is the epitome of all these ideals as it solidified it in built form.   It shows that design across the board was embracing these themes and it was the variety all of these forms that became the subject matter for the propaganda that reinforced the social and political change.  They all worked together to reinforce the cause, very much reminiscent of what fascism asked of its people, and therefore the display of the exhibit not only displays each medium used in a variety of propaganda, but in itself becomes a large scale metaphor for the ideals of the fascist government and all it represents.  

Colonization and National Consensus -Emily Vandenoever

Antonio Federico Leonardi, Agro pontino redinto (1940)
FIU Wolfsonian Collection

Colonization was a key component in the formation of Italian State policy. Under the Fascist regime Italy expanded its territories in East Africa from land previously acquired in Somalia and Eritea in 1890. Italy later invaded Ethiopia in 1936 and Benito Mussolini declared the establishment of an empire.

Metroploe/Colony: Africa and Italy examines the use of a foreign nation in shaping social and cultural consensus in modern Italy. Agriculture and industry are recurring themes which aim to reinforce the idea of the parallel development of the colony and metroploe. During this time, the reclamation of land for farming and the rebuilding of cities were polices adapted by the Fascist regime. The study of these themes allow for a critical exploration of visual and material culture in building a domestic consensus. 

The exhibition is drawn from the Wolfsonian Collection and is displayed at Florida International University's Frost Art Museum as a part of a collaboration between the institutions to provide space for teaching within the school.

The curator of the show, Professor David Rifkind, Department of Architecture, FIU is a specialist in Italian architecture during the Fascist era (1922-1943) Metroploe/Colony: Africa and Italy draws on his expertise in the way in which the built environment can effect social change. He also puts forward a critic on the modern notion of what it is to be Italian.

The show opens with a brief synopsis of the exhibition onlooking a large oil on canvas in turn establishing it as the primary work. This painting depicts a farmyard with laborers carrying sacks of grain on the backs. The painting reinforces the theme of agriculture as means to producing nation consensus. Mussolini declared the “Battle for Grain” in 1925. In turn, agriculture was celebrated as self sufficiency. What is odd about this painting is that it represents only Italian workers. Seldomly in the exhibition is the image of the native African’s depicted.  The exhibition claims to document the parallel development of the colony and metropole but there is an uneven treatment of scheme.

This may simply be a result of the material available from the Wolsonian museum or a representation of the Fascist strong hold on media. It would have been interesting to represent the cross-pollination that occurred during colonization despite the odds.

One photograph, published in the volume Italia Imperial linked the economic activity in both the colony and main land. The photograph represent the locale staple, bananas with young Italian children giving the Fascist salute. This food isn’t treated as a cultural connection between the colony and mainland but instead the food, is purely a resource. It could be argued that the colonies were treated in the same manner. In a photomontage poster used by the exhibition...this theme again visible. The poster was used in school for a radio series with fascist efforts to transform the colonized territory but more importantly the colonized people. The montage technique combines images of Italian leaders with photographs documenting coffee and banana plantations, mining and processing natural resources, the building of roads and bridges and images the native population at work. This technique boosted the power of the regime and the great privilege of technology granted to the native people. Again the culture of the colonies is a void with in the exhibition.

Oreste Gasperini, Ente Radio Rurale (1938)
FIU Wolfsonian Collection

Metropole/Colony Exhibition - Diego Diez de Medina

The pieces exhibited at metropole/colony: Africa and Italy portrays the citizens of Italy as fully devoted and involved with the fascist government. The exhibit shows the sacrifices and the persuasive methods that the people are exposed to during the time of the fascist regime. By sacrificing their personal possessions and even their children to the government, the people showed their loyalty to Mussolini.

Citizens during that time respond to threats and punishment if they choose a different path. While adults may no longer believe and want to be a part of the fascist government, the punishment for having other beliefs were harsh, therefore people lived in fear of the government, in fear of expressing other values. These methods of persuasion lead people to sacrifice even their most valuable possessions, from a meaningful object like their gold rings to their children.

It is of no surprise that children can be greatly influenced and "brainwashed" to support and be a part of anything while at a very tender age. This is where the Italian government took advantage of a child's nurturing and taught that the fascist movement was the better future for Italy. it taught that fascism was a better way of life and that it is a natural way of living. It taught that for a man, violence and war was just as natural as giving birth. Starting at the age of 8 children in Italy were enrolled in what was called the Balilla, a pre military service which introduced children into the fascist beliefs. This example is shown in the painting "Agro Pontino Redento," where the artist shows the workers sacrificing themselves, working for the benefit of the government while the child in the Balilla uniform symbolizes the sacrifice and participation of the children in the fascist movement. Not targeting a child's mind, but targeting their imagination and fantasy, the government took them on "radio voyages" through the empire with their broadcasts, and told them about the great future ahead. These are the fascist of the future.

The depiction of children in a painting or a poster in the fascist propaganda became effective in the sense that children were being used as bate in order to influence others towards fascism. The children  being forced to participate in the balilla and other government organizations to become the fascist of the future, and at the same time they become the propaganda for the fascist government.

Metropole/Colony Exhibition, Alexandra Pagliery

The fact that the exhibition, Metropole/Colony, gathers together artifacts and information in a variety of different forms to emphasize the importance of the colonization of African cities for the growth of Italy makes it extremely successful. There are multiple types of media including paintings, sculptures, propaganda posters, books, and even bread plates in which information is presented and this helps to accentuate the true pride the Italians felt for their country in this Fascist era. If there was only one type of media presented, it may seem that the government commissioned the artwork or writings, but since there are a variety of medias that were produced in different geographical locations, it proves that the pieces were not forced.

The colonization provided Italians with confidence in themselves and their countries. This is especially evident to a viewer of the exhibit in the posters that advertise travel to the African colonies via the same routes the Italian army took. The Italians were confident enough to advertise this travel through the use of the posters because they felt the trip would allow tourists to retrace the important historic events.  The figurines on display of the airplane and rail car allow a viewer to see how Italians used transportation to display their pride. The fact that the rail car became an iconic symbol and that the airplanes were modeled after military aircraft proves that the Italians were proud enough to give tourists a feeling of taking the same flights as their conquering army. Another form of media that exemplifies the patriotism of the Italians to the viewer of the exhibit is the children’s board game. This proves that even the children participated in the connection with the army and their advances into Africa. Photographs of grains and fields also demonstrate the agricultural emphasis during the time, and how Italians were proud to be part of a growing empire. The sculpture, The Harvest, particularly allows a viewer to understand how the Italians felt toward their agriculture accomplishments. This sculpture provides emotions they felt that one cannot get from a photograph. Likewise, the bread plate is with the verse on it shows a viewer how serious the Italians were about their grain production and consumption.

The use of the different media and materials versus just one or two types is a vital aspect of the Metropole/Colony exhibit. It allows a viewer of the exhibit to become fully integrated into the idea that the exhibit explores. It is a way of providing evidence upon evidence that proves that the colonization of Africa was important for Italy and allows for a three dimensional experience of that time in history.    

The Metropole/Colony: Africa and Italy exhibition

The key goals of Italy’s Fascist Empire are narrated in the Metropole/Colony exhibition through the organization and relationship between its pieces. It becomes clear that Italian Fascists were trying to normalize the addition of Ethiopia to metropolitan Italy and to reassure its natives of their patriotism. As a small partition wall overviews what the exhibition is about, it stands next to a table that holds maps and pictures of EUR and Addis-Abeba to describe the Fascist’s aspirations for Italy’s new Imperial cities, which functions as an introduction to the following peripheral pieces. From there, the exhibition’s layout can be divided into two parts.

The Fascist’s attempt to normalize the integration of its West African colonies through the use of tourism, new technology, and relationships between this new technology and old historic architecture are displayed towards the front of the exhibition, on either side of the entrance. To the right of the entrance, the theme of relating new technology with old historic architecture is presented with the Foro Mussolini being displayed in a series of white and black photographs to show its ancient roots in the new buildings. Above, there are paintings of aircrafts above cities, which can be identified by its iconic structure, to depict new airplane technology in relationship to old historic architecture. Addis-Ababa is drawn next Rome’s Colosseum to aid its integration to metropolitan Italy by relating it to these other important Italian monuments. To the left of the entrance, the theme of tourism is presented again with the use of new technology in transportation shown as tourism propaganda depicting the colonies as destinations for leisure to facilitate their integration into metropolitan Italy. 

Continuing into the exhibition, along the right side wall, a more intimate side is shown, describing Fascist Italy’s efforts to remind its natives of their patriotism and involving them with Fascists’ accomplishments through media. Two tables along the wall display media illustrating the Fascist government’s rapid development of agriculture and industry in books and postcards. Above the tables are two posters promoting sugar production in the colonies as a patriotic duty. Another poster follows, promoting the use of radios to allow for communication from the colonies. A third table follows the previous two, showing Fascist involvement in Italian daily life, like games, teaching children to feel “invested in military conquest.” Italians’ strong patriotism is symbolized in a steel ring that was given for donations of gold wedding bands to help the government’s war efforts. Italian immigrants in the America’s show “pride in Italy’s recent accomplishments” as a book and case and postcards shown adjacent to the right wall.  Finally, the back wall of the exhibition speaks about the importance of grain agriculture in the colonies by calling for unemployed Italians’ patriotic duty to work at the colonies as farmers. Two plates with illustrations about the importance of grain agriculture continue to display how this patriotism affected Italian households. 

Italian Fascism Transportation Propaganda (Jenny Meneses)

    The Metropole / Colony: Africa and Italy exhibition includes items that show the role of transportation as propaganda during the colonization of East Africa by the Italian Fascism.

The rapid construction of roads during the occupation period (1936-1941) was part of development plan for the new colonize territories. The need to transport troops, construction materials, and food was fundamental for the colonization campaign in East Africa. The fascist party saw this as an opportunity in the transport infrastructure to use it as propaganda.

The building of roads connecting the different colonies of East Africa allowed for public transportation service to become an asset for the government.  Photographs of vehicles touring East Africa were used to show a tourist friendly empire. This misleading representation of a pacified place intended to persuade Italians to spend their vacations in the new East African Colonies.

Road workers were also used as propaganda to benefit the fascism government.  They were show as part of the driving force responsible for the firm progress in East Africa. By doing this, the Fascism government appealed to other workers in main land to believe in the corporatist economic system. The idea of progress was vital for the Italian government given the economic conditions Italy was facing after World War I.  Italian workers were lead to see themselves as heroes; taking part in the colonization of new territories. Also, the creation of fascist identity is obvious in the used of road workers and engineers as advertising. The Reinforcement of political violence and war as a positive means to achieve progress creates a direct relationship between war- transport infrastructures (workers) - development.

Also, air transportation was used to promote the success of the colonization process. By showing the engineering and monetary power which represents this kind of transportation the government appealed to Italians. All this attempts to show power were made in order to contrast the debt and unemployment left by the Italian Liberal Party through Italy. Poster showing planes were used to show the leisure to travel from Italy to East Africa.

Italian nationalism and the territorial expansionism of Italian fascism used propaganda to create identity and reinforced their power. The used of print advertisement was seen as an effective mean of manipulating the population to gain support. Transportation infrastructure was not only a necessity but also a marketing strategy for both new colonies and for Italians citizens. The Idea of unparalleled progress was sold to Italians by the fascism government to elevate their party as the ideal form of government.

The exhibition Metropole/Colony: Africa and Italy

The exhibition Metropole/Colony: Africa and Italy displays interesting points of the relationship between imperial Italy of 1922-1943 and Italy’s East African colonies, combined under Africa Orientale Italiana (AIO), along with North African Libya, Albania and the Greek Dodecanese Islands. This exposition documents the strategies used by metropole to assimilate African population into Italy. Similar to the Roman Republic, the fascist regime tried to integrate Italian style of life in Africa, in order to gain and secure their economical position in the quest for colonization. This integration was imposed on agriculture, infrastructure, media and urban planning.

Figure 1. Map from Africa Orientale Italiana, published by Consociazione Turistica Italiana (1938) shows Italian Fascist colonial holdings

The exhibition context centers around a few main topics:

1.        Role of industry for the growth of Colonial  agriculture and needs of metropole
2.        Global transportation expansion as  a part of military and tourist intensification
3.        Formation of Italian identity along with the international missioner profile

As part of the national identity formation, Mussolini’s government employed ideas of conquering foreign land while making reference to the Roman past. As historical and cultural meanings were projected on economical production and massive consumption, there was a special focus on industries like sugar, grain, cotton production. The government dogma brought desire of each citizen to contribute to the big and powerful nation. 

Figure 2. Government propaganda highlights the importance of production of agricultural products for the empire’s internal consumption. Photo on right shows Italian children, set in a pattern as to create cheering image for the banana campaign

Figure 4. Airlines’ and Banco de Roma postcards popularize Italians’ presence in the East Africa

The exhibition demonstrates the romanticizing of the very idea of aircraft and transportation. Oil paintings depictured an expression of the new-minted aircraft mechanisms in soft edge and light, making their association with significant buildings and places, and sometimes, using them as backgrounds.

Figure 5. Prisma crociera atlantica su Rio de Janeiro by Italian artist Afredo Gauro Ambrosi (1933). Author is unknown on the right

Promoting national tourism in Africa was a next step that Italy took after establishing its authority in colonies. Fiat train provided its riders with an experience, similar to that of Italian conquerors. People were living their history and could literally retreat the military moves, imagining themselves as being soldiers, moving throughout Africa

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 Figure 6. Fiat manufacturing and aircraft are gear for Italy modernization and military campaign

Figure 7. Poster on a left, ALA littoria S. A. Roma. Linea dell'impero shows the troops’ route that tourists were following. Designer is unknown (1937)

In return, the country was asking their citizen to make contribution by donating their wedding rings. The steel rings were given back as a sign of the national pride.

Figure 8. Poster demonstrates symbolic sacrifice of Italian families to the well-being of the empire

Italian Self-promoted Identity nurtured by the internal development and agricultural enlargement, creates its profile in relations to the colonies. The exposition illustrations show an interesting fact that the colonies almost never were pictured along, but with the strong relations to the Italian metropole “civilian mission.” Urban project of the construction a capital of AOI, Addis Ababa, manifests a spacial relationship of its elements, which generates specific urban orientation, superimposed with monumental scale, symmetrical and grid layout. As result the planned city meant to speak about the power of the Italian empire.

Figure 9. Master plans for Rome's Addis Ababa, capital of Italian East Africa meant to reshape local terrain while configurations for segregation along with the monumental arch were signs of supreme power of the Metropole. On the right, Poster displays design of the Roma 1942-XX arch by Giorgio for Quaron Espozione Universale (1939). The arch is symbolic entrance from the Italian capital to trans-Mediterranean empire

As response to internationally disapproval, Italy defeats it reputation and stresses its appearance in Africa as a part of a larger missionary mission that brings civilization to underdeveloped countries.

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Figure 10. Painting depictures Italians as children that came to Africa to administer justice, by taking the wealth from the ruling class and distributing it among poor’s. On right Platter San Giorgio Benito uccide il monstro delle sanzione by Golia (1936) depictures “St. George Benito” Mussolini killing the monster of Sanctions

Despite the Italian intrusion and fascist fashioned propaganda over the African territories, the modernization had positive aspects in development of these lands. The colonial regime did manage to improve the road system, transportation, infrastructure and agricultural productivity in their colonies.

The Role of Propaganda Between Italy and Africa, Daniel Alonso

Use of propaganda in Italy and countries taken by the Italians in Africa was essential, so much so that it integrates itself as part of the architecture and the identity of an overtaken city. Inherently, the manipulation and representation of propaganda formats varied for the invader and the invaded. These manipulations distorted perspective in such a way that no matter the angle at which the invasion is viewed, it seems to be the ideal for all parties.

In the Metropole/Colony: Africa and Italy exhibition, the propaganda in the form of art and ephemera in the room, mostly catered to the working Italian public. Clear and deliberate focus on the emotions and prosperity of the Italian people was paramount. The exhibition exemplifies this most notably in the sculpture “La Messe” by an unknown artist. This sculpture depicts a man embracing a bundle of wheat and shares an uncanny resemblance to Michelangelo’s “Pieta”. This sort of imagery is immensely evocative to the masses, and the people responded just as the government needed them to. These emotional responses lead to more concrete signs of one’s patriotism. One manner in which this patriotism and loyalty were displayed was the exchange of one’s gold wedding band for a steel replacement. Now, passersby with the steel band show their loyalty and commitment to creating a better, more prosperous and more independent Italy.

For those that were being invaded, the propaganda took a different form. This was much more a spin on what was the actuality of the situation. The Italians explained the benefits of their arrival; they were to build infrastructure, cities, and buildings. All this was sold to the Africans as an improvement of their current conditions and an introduction to a more refined society. As the architecture was being built there arose implications of a more somber reality. The large public buildings, as was the case in Gondar, were placed on the highest ground while stifling zoning and segregation relegated the original inhabitants to less desirable areas. The buildings followed the fascist model, clear construction, rationalist detailing with quotations of imperial Roman architecture. This sort of construction and segregation imposed new law on the Africans. New boulevards and foreign building types gave the invaded the clear sign that what was theirs was no longer.

Propaganda plays, and always will play, a crucial role in society. Even today some images evoke strong sentiments, typically connected to history. A single image can draw some to think of salvation and freedom, while others think of hatred and persecution, perhaps this is one reason only 35% of Cubans voted for Obama while 64% of Latinos voted for him (76% for young Latino voters). Study the images below and come to your own conclusion.

La Pieta (Left) and La Messe (Right)



A poster of Che Guevara (Left) A poster of Obama (Right)

Branding

      Throughout history, propaganda has significantly influenced the spread of ideas and ideologies of all sorts. The concept first appeared in the sixteen hundreds when Pope Gregory XV established the "Sacred Congregation for Propagating the Faith". Derived from propagating, Propaganda, was and is until this day the art of convincing multitudes on the veracity of a given set of ideals. 


  The following synopsis will attempt to communicate few important aspects about the exhibition and the way the it was presented. In my visit to the “The Metropole / Colony Africa and Italy” exhibit at The frost Art Museum I was reeducated in the powers of branding and propaganda, with emphasis on graphic techniques, visual expression, sculptures and carefully crafted messages. In the space where the exhibition was held, I felt in a constant pinball game, bouncing from extravagant graphic illustrations of doctrines and ideologies to master crafted sculptures of inferior masses. Both in constant dialog, in an infinite tension between technological progress of the time and the rural but yet unimaginably detailed sculptures of the time in Africa, as if one is a downright complement of the other. 
  Unwillingly, in the blink of an eye I felt completely immersed in an unexplored time, a time of the past, a time when propaganda was used to present and illustrate the technological developments of a nation. They not only carried but defined the nation's presence over the super powers of the world. A vibrant example of this is the poster designed by: Marcello Dudovick, titled “Crociera aerea del decennial” [Decennial Air Crossing], 1933. Commemorating the flight of 24 sea planes from Rome to Chicago world’s fair, evidently announcing to the world fascism's technological powers/advances and military precision, key aspects of Fascists rhetoric. 


  Although the concept of propaganda is centuries old, no other time saw the use of it in a more visually appealing and effective way than that depicted in “The Metropole / Colony Africa and Italy” exhibit at The frost Art Museum. Incredibly powerful and imposing imagery was created by the countries and ideologies jostling for position as the superpowers of the time. It displays the unquestionable ability of the image to represent and carry messages effectively to the masses, and how persuasive a tool it can be.

Parallel Worlds - Metropole/Colony: Africa and Italy - Ana Benatuil

The “Metropole/Colony: Africa and Italy” exhibition takes place on a squared room at the Frost Art Museum in Florida International University. The exhibition successfully depicts the parallel relationship and hierarchy of power between Italy’s vision and expectations towards the conquest of the African Colonies and the consequences and results that these were causing in Africa. The physical placement of the artifacts express these two parallel worlds, the four walls surrounding the small room, are mainly full of paintings and propaganda portraying Italy’s power under Mussolini’s regime promoting tourism to East Africa, also promoting jobs and expressing the benefits that the conquest would bring to Italian citizens, strategy used by Mussolini’s regime to consolidate fascist power in Italy.

On the other hand, the items on the stands along the center of the room, express the consequences of how Mussolini’s conquest was affecting Africa, in both positive and negative manners, the rapid development in agriculture and industry, the development of new towns and transportation infrastructure and the depiction of fascists on East Africa through children’s games and postcards.

The fact that Italy’s depiction of power, technology and leisure are displayed on the walls, surrounding the room, with a clear separation in height, is a representation of hierarchy of Italy over Africa translated into the built form of the exhibition. It represents how the Mussolini regime held control over the African towns and at the same time, conveying the notion of progress and growth through the creation of a tourism infrastructure, such as cruises, airlines, guidebooks, hotels, etc. 

Sketch of exhibition space viewed from above.

On the sketch provided above, it is clear how the walls are overpowering against the stands on the floor, and how it can be read as one being the consequence of the other and vice versa, which is exactly how the parallelism was happening at the time of Italy’s invasion of East Africa. The Metropole was conquering the colony but at the same time, the Metropole was being conquered all over by the fascist regime, re-affirming their power on the Mainland and reinforcing their identity as Italians. 

Title showing how the words "Metropole" and "italy" are surrounding "Colony" and Africa"

To strengthen the argument previously stated, the title of the exhibition is also an example of how the parallelism is shown, and how African colonies were immersed into Italy’s empire.

Metropole/Colony: Africa and Italy

With the use of different materials such as books, paintings and artifacts the exhibition Metropole/Colony: Africa and Italy is organized and display in a series of events that took place when Italy was colonizing Africa during the Fascist movement. When stepping into the exhibition there is a brief summary in the center of the room were explains what the exhibition is about. The exhibition is organized with the main events represented by propaganda placed on the walls, and with artifacts located at center of the exhibition, such as the platters display as a symbol of the acquire territory  in Africa devoted to agriculture. Even though one can explore the room in any way possible, all events at some point become the support or base of another event. for example, on one of the walls the propaganda is giving a brief description of the cities in Italy, and how the cities were been constructed and how they were making connections from the cities in Italy to the cities in Africa such as Libya and Ethiopia. The materials also explain how citizens were drawn into following and supporting the Fascist regime. Families had to place maps and children have to play games that represented Italians colonizing Africa. They were also Italian postcards that portrayed Africans working on the fields under the fascist movement. Propaganda showed the development of transportation and how the government had the ability to improve the citizen’s life style. All of these different scenarios are organized and placed around the room, with artifacts that explain the event for viewers to understand. It explains the fascist regime rapid development of agriculture and industry that do to this Rome started to produce postcards publicizing its branches throughout East Africa in order to represent to absorption into Italy’s empire. In the exhibition on one of the walls there is a painting where the Africans are shown harvesting crops. At one side of the exhibition propaganda of airplanes and models of trains are displayed to show that once Italy’s army conquered the territory in Africa, tourism started to come into Africa, allowing tourist to retrace these historic events. The arrangement of the material in the exhibition was a very successful way of organizing it. The placement of the artifacts and elements helps the viewer understand the series of events that happen in order for Italy to colonize Africa and to let Italy itself become a stronger nation.  

The Italian Fascist Regime

Through the use of different artifacts, the exhibition “Metropole/Colony: Africa and Italy” explains the Fascist era from 1922 to 1943. While the exhibition focuses on the integration between the Italian colonies and the Metropole, its layout focuses on the Italians’ pride toward the Fascist regime and ideas.

The exhibition is divided in different topics: Architecture, propaganda, agriculture, transportation, and Italian pride. The objects, posters, and photographs closer to the wall focus on the integration of Italy and its colonies. Although the objects seem to be randomly placed in the middle of the exhibition, they are the result of the rest of the propaganda displayed around the walls of the exhibition. They represent Italian citizens’ pride for their government, and how they portrayed their delight with their country in their homes or workplaces. One example of this is “The Book and Case”, a publication that demonstrates how proud the Italians in New York and New Jersey were of the Italian government.

At the entry, there is an explanation for the exhibit, and right next to it, on the right side, there are maps for the modified layout of the Italian colonies. As one continues in that same direction, additional photographs and posters can be seen that are related to the architecture and integration of historic architecture and technology which correlate to the Fascist ideologies. The combination of old and new also represents the Fascist aspiration for continuing the nation’s legacy.

On the other wall, five framed posters are hung behind a grouping of artifacts like books, postcards, rings, and games. The posters convey the way the regime advertised their ideas and assured citizens of their effort to transform the colonies. The displayed relics exhibit how citizens influenced by the regime supported and followed their advance in the colonization. Donating rings is one example of just what kind of dedication Italian citizens had to their government in supporting the war in Ethiopia.

On the following wall are posters about agriculture. The posters explain the importance of citizens producing their own food and working for their nation. Agriculture was claimed by the regime to be the main reason why expanding Italian territory was so important. Continuing on, are the walls about transportation. The posters promote the importance of technology on the regime’s effort to progress. The posters emphasize several pieces that represent the technology of the time.

Duality between the Fascist and the Romans, Matt Sundstrom

The paintings, photographs and artifacts in the Metropole/colony: Africa and Italy exhibition establishes a connection between the architecture and urban planning of the Fascist Empire with the historical Roman Empire. This duality offers a historical precedent for the architectural forms created during the Fascist era and justification for the Regimes rule.           

Plan for Addis Ababa 

The Plans for Addis Ababa, in Ethiopia and EUR or Esposizione Universale di Roma (Rome Universal Expo) were some of the most ambitious plans developed by Italian urban planners during the Fascist era. These plans were developed to demonstrate the modernity and prestige of the Fascist Empire while remaining true to Italy’s past ‘Roman’ history. For example the new plan for Addis Ababa portrays the Fascist Empire as a more superior civilized nation by its rectilinear symmetrical composition inspired by the urban plans of the Romans. The Plan for EUR is a more direct translation from Roman architecture by its use of orthogonal axes, traditional materials like marble and limestone, and composed of large stately buildings. The EUR complex was also intended to be the site of the next World’s Fair that would take place on the twentieth anniversary of Mussolini’s March on Rome, the event that signified the beginning of the Fascist Era.

The series of paintings done in 1937 (artist unknown) of an aircraft and an iconic Roman structure juxtapose modern technology and historic architecture. These paintings symbolize the Fascist Empires quest to conquer and control more colonies outside Italy and offer a historical precedent to model these new cities after.

The photographs of the Foro Mussolini, one of the dictator’s earliest efforts to exceed the architecture of his imperial predecessors suggest a direct parallel between the Fascist Empire and the ancient Roman history of Italy. It was inspired by Roman Forums and intended to be a preeminent masterpiece of Italian Fascist architecture instituted by Mussolini. It was the home to the Fascist Academy of Physical Education. In 1936, when Mussolini conquered Ethiopia and declared a new Roman empire, the Academy’s emphasis on health and fitness had come to imply battle-readiness.

            These examples in the exhibition clearly establish a duality between the Fascist era and Italy’s important ‘Roman’ history. The architecture and urban plans created during the Fascist period reference historical forms and present a continuity between the Roman Empire and the Fascist Empire. 

 Foro Mussolini

The Conquering Heroes and East Africa, Jorge Bonsenor

This exhibition attempts to convey what impact of colonization east Africa had Italian national identity and does it reasonably well. As you walk into the gallery space you encounter a sign that describes the general theme of the exhibition and a general sense of what’s on display which are mostly propaganda items related to the colonization of east Africa. In 1935 Italy invaded Ethiopia, Eritrea, and Somalia. This is during the reign of Benito Mussolini, a fascist leader who would later lose these colonies and be killed at the end of World War II. 

 To the right of this sign are maps and aerial photographs of colonized areas.  In front of this are a series of pictures. There are two rows, the top being Italian planes flying over iconic historical Italian buildings signifying advancement and progress. Below this are a series of pictures of an education complex commissioned by Mussolini in an attempt to build a third Rome to advance Italian society. In this portion of the exhibition one can start to understand the Italian motivation for colonization as a method of advancement and expansion of the empire as Rome once did using advanced technologies such as airplanes to move the country into the future which meant a smaller and more unified world.

Moving up the right side of the exhibition you would encounter a series of propaganda posters promoting the purchase of government subsidized radios so everyone can listen to government run programming. Right below this is a table displaying various objects one of which is a board game that was originally from one of the colonized lands but was redesigned to promote Italian nationalism. It is very important to understand the impact of these two objects on Italian citizens. The radio was one of the few methods of long distance communications.  The radio shrunk the world in a manner of speaking because messages could be transmitted across the entire empire. The board game took something that was a part of the culture of the land they conquered and subsequently altered its message to show Italian colonialism in a positive light. Especially since this was geared towards children this gave them the impression that the empire was all powerful and they lived a privileged life as a citizen in that country.

Most of the other works in the exhibition were propaganda paintings, sculpture, and craft ware but the most interesting piece was a small display of a model train. This train represented the establishment of modern train service in Italy in 1930 and then began in Eritrea soon after. This connected the countries by way of technological progress and allowed for Italian citizens from the mainland to visit the new territory. The most important thing about this is the Italian citizens who visited Eritrea thought of themselves as conquering heroes. This reveals the most about how colonization affected Italian national identity.

Unconditionally Italian, [Jillian Rio]

The historic exhibition, “Metropole/Colony: Africa and Italy”, is filled with paintings photographs, drawings, and artifacts made by Italians, expressing their support and almost obsession for the Italian government and their decisions. One can argue that these pieces were only made upon request by the government, but it is apparent that these artifacts were produced by clear choice.

The steel wedding band exemplifies the passion Italians held for their country. Italy was in the new hands of the military driven Fascist government so it was no longer the Italy that the population always knew. Nevertheless, Italians still held a strong bond to their country and felt the need to express this attachment. Italians had the option to prove their devotion to their country by donating their gold wedding bands to their government. The Italian government would then exchange the gold band with a steel band. The steel representation of Italian pride was sought over the sentimental value held by a gold wedding ring.

Again with the “Book and case” we see an act of Italian pride, except here it is across the globe in New York. The book was printed in 1937 in New York and an Italian-American produced the intricate wooden case for the book.

The “Postcards” directly next to the “Book and case” are another example of Italian support away from its geographical location. The postcards were produced by an Italian-Argentine in Argentina. They are all formatted in the same way, black and white drawings of moments in Italy during the 1930s. The bounds of these moments are drawn within Fascist shapes and symbols. Each postcard is also tagged at the bottom of the card with a quote from Mussolini and the colors of the Italian flag.

Having cultural pride comes naturally out of love for the country of one’s belonging and in some instances, ignorance. This exhibition showed the strong support of Italy, by Italians, during the Fascist movement. It can be argued that the population was forced to follow their government’s decisions during the Fascist era, however this pride proved to be carried out of the country as well. Italians in the United States and South America continued to display their devotion to the Italian government and military force although they were no longer subjected to Fascist rule.

The Aircraft as a Fascist Propaganda Artifact by Fabio Segre

The Aircraft as a Fascist Propaganda Artifact

( View of Italian Cities, exhibition, Metropole/Colony at Frost Museum)

 

The totalitarian European states in the 30s tried to establish a link between nationalist popular feelings and identity, by employing modern techniques of visual expression and advance technology through the state propaganda. The airplane as a modern artifact represents an element or image of unreachable power and modernity for the “technological deprived” African colonies. 

Mussolini, establish his totalitarian government within a strong sense of inferiority in relationship with other Europeans powers, especially after the World War I, when Italy was not invited to participate at the Versailles Conference. To overcome this sense of inferiority it was necessary to recuperate the glories of the Roman Empire, and to show to the rest of Europe that Italy could again become an Empire by colonizing East African territories. The demagogic propaganda of this period showed how Italy, with the airplane, defined its presence in the world. One of the first fascist international propaganda campaigns was the relationship with the Americas – the flights of Italo Balbo to Rio de Janeiro, South America and Chicago North America in 1930-1933. After that representation of supremacy and power Italy launch a propaganda campaign introducing Italians idiosyncrasy in African colonies, where Italy will be responsible of introduce the benefits of modernity: the airplane, the new projects improving cities infrastructure and the Italian fascist architecture. 

 

          

                                                                                        (Exhibition, Metropole/Colony at Frost Museum)

                                       (Italo Balbo transatlantic flights posters propaganda)

               The image of the aircraft constantly revealed and identified the fascist government goals and character. The media used for this propaganda posters can also be consider avant-garde for its time by mixing to different forms of visual expression, art-deco with modern graphic elements. The aircraft was also used as an instrument that allowed architects and town planners to understand geography, landscapes and cities.

       (Exhibition, Metropole/Colony at Frost Museum)

             In the exhibition “The Metropole / Colony Africa and Italy”, the image of the airplane is used constantly as a propaganda element; as a symbol of power and modernity; a technical instrument that permits the connection between continents, and societies, integrating different cultures from developed countries, to under-development countries The exposition also shows the principal aspect and interest of the fascist colonization period in Africa such as “reclamation of land for farming, resettlement of populations, rebuilding of cities, and intensive promotion of agriculture and industry”. 

Presentation vs Progression, Thiago Menezes

This reading seeks to critique and analyze the “Metropole/Colony: Africa and Italy” exhibition at the Frost Art Museum, as its mode of presentation succeeds while its circulatory progression fails.

Given that the exhibition features various types of media, including (but not limited to) posters, paintings, sculptures and books, it becomes difficult to present all the material in a singular unified way. Nonetheless, the choice of material and display methods chosen, make it extremely clear as to how one experiences and views the items on display.

Bearing that in mind, we look into the movement allowed throughout the room, and it becomes apparent that there are a few more options in regards to layout that could have been explored and ease the means of progression throughout the space.

As one enters the room, one is faced with a tall tabular wall of text and a glass table display. Here one is presented with the choice to go left or right. Thus far either way works, as the perimeter of the room is clearly cladded with frames displaying the art with glass tables underneath them, displaying various other items.  It is not until one reaches the center that the progression becomes a somewhat confusing and the choices made about where certain items were placed come into question.

Three items inhabit what would seem to be the main part of the exhibition, forming the shape of a triangle whose points face the entrance the right wall and the back wall. These items will be noted as “The Book and Case” (as the name indicated a book and it’s artfully crafted wood case) located the entrance point, “Platter” (a set of two carefully decorated plates) located at the right wall point and “La messe” (a bronze sculpture of a man caressing wheat) located at the back wall point.

Before continuing, it must first be noted that both “The Book and Case” and “La messe” must be viewed from all sides of their clear cube display in order to be fully understood, while “Platter” can be understood merely by looking at it from up top.

Understanding that “La messe” is a three-dimensional sculpture and compels one to revolve around it, one must question its placement in relation to both the wall and “Platter”. If coming from the right, one can clearly walk around “Platter” and come around to “La messe”, and if coming from the left one can do the same around “The Book and Case”. However given its proximity to the wall one can only view 3 out of the 4 sides and questions whether or not to squeeze between the wall and the piece’s container. Here is where the progression truly becomes hindered.

Presented with this scenario, one might suggest a few minor adjustments in which progression will not be interrupted due to the break in thought, and thus a lessened level of involvement with the exhibition, as one ponders what to do. Suggestion “A” would to simply move of “La messe” about another 6 to 12 inches away from the wall. Assuming everything was done for a reason, and this break in thought and forced circulation as pre-mediated by the curator, suggestion B would come in place. Here everything would essentially stay the same, except “La messe” was to be switched with “Platter” as platter does not require a 360 degree turn around it for one to fully understand it and thus its display can be as close to the wall as desired.