Almost one hundred years ago Filippo Tommaso Marinetti published in Le Figaro, the Manifesto of Futurism. The Italian poet gave her famous diary written in Paris in order to project the Italian culture in an international perspective. On the occasion of this anniversary, the Pompidou Center opens its doors to a large and ambitious exhibition, to celebrate the birth of Futurism. "The future in Paris - a vanguard explosive". This is the title of a traveling exhibition which is the fruit of collaboration between the Center Pompidou, the Tate Gallery in London and the Scuderie del Quirinale in Rome. The Roman event will be significantly inaugurated on February 20 2009, exactly one hundred years after the publication of the manifesto, for a dignified artistic phenomenon celebrated a very Italian.  The exhibition comes from the close cooperation between certain European institutions among the most famous and this to highlight the role played by Futurism in the definition of a new artistic language for Europe in the first half of the twentieth century. The objective of the exhibition is clear through the words of its organizers, who claim that: "The exhibition aims to explain  the position of Futurism, source of modernity, to reflect its impact on the French avant-garde, Cubism. It invites a new analysis of relations between these two movements through more than 200 works and documents. "  Therefore, the centennial offers us the opportunity not only to admire a very large number of works of exceptional quality, but it becomes a pretext for the museum fulfill its role as a center of study and search. Why devote a future exhibition to the centennial of the publication of his manifesto? It is no coincidence, there is a specific reason. Indeed, unlike other modern groups and movements, Futurism has always put its intentions in writing program, the manifesto of 1909 is also only the first in a long list of writings, among which only a recall the Manifesto of Sculpture, dated 1911, followed by the Manifesto of Futurist architecture signed in 1914 by architect and urban planner Antonio Sant'Elia (1888-1916), finishing with the Manifesto of Futurist Reconstruction of the Universe in 1915.  During 1910 Marinetti comes into contact with a group of young Italian painters ready to prepare and practice in painting the futuristic idea. They are: Umberto Boccioni (1882-1916), Giacomo Balla (1871-1958), Carlo Carrà (1881-1966), Luigi Russolo (1885-1947), and Gino Severini (1883-1966), which in 1910 Give their accession to the futurist movement with the publication of the Manifesto of Futurist painters and Technical Manifesto of the painting. The group thus formed is beginning to organize many theater and poetry, as well as exhibitions of sculpture and painting, among which the most famous and planning futurism on the international scene, will be held in 1912 in Paris, Galerie Bernheim-Jeune as the Italian Futurist painters. It particularly outraged because of the obvious contrast with all that at that time the arts was able to offer the public.  In open polemic with backward ideas on art and life, futurists say the violent need for a new art whose groundbreaking would inform life in all its manifestations achieving, therefore, identity Art and life, backbone of the futuristic aesthetic. Inheriting the philosophy of Bergson and the theory of relativity of Einstein, the goal of art nouveau is the exaltation of the dynamism, speed, energy and human action. The art will also escape the "Museums" to be able to renew both in content and in technologies. Finally, art should shock, shaking, use psychological violence or physical. The First World War will temporarily end optimize the avant-garde. In 1918, the Futurist magazine Roma marks the beginning of a new era for the future. Several artists formerly involved in the Revolution Futurist, s'adoptent the general climate of "call to order", new dictates of European culture. But the foundations of modern art had been thrown and now, neither the death of Boccioni and Sant 'Elia on the battlefield, nor about a return to an classical art, to prevent Futurism radiate to echo its innovative strength.  The new movements of European art, from the ashes of World War I, as Russian Constructivism and Dada hosted by the credo revise the lesson and futuristic. After a hundred years, the Beaubourg exhibition aims to retrace the steps of this passionate dialogue, fundamental chapter of art and culture of the twentieth century Europe.