That year, Marinetti discovered some allies in three young painters, (Umberto Boccioni, Carlo Carrà, Luigi Russolo), who adopted the Futurist philosophy.
As part of its celebration of the 100th anniversary of Italian Futurism, the Performa 09 biennial, in collaboration with the Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art, invited Luciano Chessa (author of the book Luigi Russolo, Futurist. Noise, Visual Arts, and the Occult) to direct a reconstruction project to produce accurate replicas of Russolo’s legendary Intonarumori instruments.
Piatti enrolled at the Brera Academy in 1903 and came into contact with the Milanese Futurists in the early years of the next decade, collaborating with Luigi Russolo on intonarumori (noise-making) machines and making his debut at the Famiglia Artistica in 1911.
Luigi Pirandello | Luigi Nono (composer) | Luigi Nono | Luigi Comencini | Luigi Ferdinando Marsigli | Luigi Cherubini | Luigi Chinetti | Luigi Dallapiccola | Luigi Tenco | Luigi Ambrosio | Pier Luigi Nervi | Luigi Galvani | Luigi's Mansion | Luigi Russolo | Luigi Pasinetti | Luigi Lucheni | Luigi Galleani | Luigi Schiavonetti | Luigi Pulci | Luigi Manini | Luigi Macaluso | Luigi Luca Cavalli-Sforza | Luigi Infantino | Luigi Fantappiè | Luigi Cozzi | Luigi Arditi | Luigi | Pier Luigi Farnese | Pier Luigi Bersani | Luigi Zingales |
April 1930 the group opened an exhibition in Galerie 23 at Rue La Boétie with works by Hans Arp, Wassily Kandinsky, Fernand Léger, Piet Mondrian, Pierre Daura, Antoine Pevsner, Luigi Russolo, Georges Vantongerloo and others.