In 1914, Giacomo Balla metamorphosed into FuturBalla. In this transfiguration, for the Turin-born painter who had moved to Rome, his new pseudonym signalled a radical desire for a complete revolution in both the man and the artist: he auctioned off everything figurative he had ever painted, and devoted himself to new Futurist art. He signed the Il vestito antineutrale manifesto, calling for more colourful, asymmetric, festive and aggressive fashion; then, with Depero, he signed another manifesto, Ricostruzione futurista dell’universo, which reads: “We futurists, Balla and Depero, want to achieve this total fusion to reconstruct the universe by cheering it up, that is, by recreating it integrally.” Using art as a vehicle, the goal of any avant-garde movement is to recast the world, to wreak a total revolution in every aspect of life. For the topological boundaries between art and life to be broken down, for life to become a work of art and art a totalizing, unlimited creation, a Gesamtkunstwerk, it is necessary to transform every aspect of life, starting with habits, objects and everyday places. For the avant-garde, art was a very serious matter that had little or nothing to do with escapism or aesthetic experience as an end in itself – even for the Dadaists, who equated art with playfulness. The avant-garde fusion of art and life generated different outcomes, culminating in Kurt Schwitters’ Merzbau, a total work of art that, like a metastasis, ended up proliferating and taking over an entire house.