Galleria Granelli
Contemporary Art Gallery in Castiglioncello
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    Galleria Granelli

      -  Slide   -  Bruno Munari – 2015

    La genialità tra regola e caso

    30 May 8 August 2015

    Galleria Granelli, with the exhibition “Bruno Munari – The genius between rule and chance”, presents 36 precious unique works that trace the artist’s historical journey starting from Futurism until the 90s

    Galleria Granelli, with the exhibition “Bruno Munari – The genius between rule and chance”, presents 36 precious unique works that retrace the historical journey of the artist starting from Futurism until the ’90s “What triggers the spark I think it is in many respects randomness because when randomness meets culture then new things can be born both in science and in art. […]

    The case is therefore a condition in many respects indispensable because it is out of logic. With logic, and therefore with technology, you can try something that is already thought to be there, while with intuition, imagination and creativity, thanks also to this randomness that the Orientals call Zen, there is it is a contact with different reality that allows us to discover other qualities that do not lead to a practical but cognitive result “Bruno Munari

    In equilibrium between rule and case Munari observes that compositional repetition, lacking in originality and fantasy, can lead painting, of constructivist and concretist formation, towards a dead-end street, in a blind alley. For this reason he never hardens on the theoretical positions of a pure abstractionism, on the contrary, he is concerned with exploiting the randomness that, similarly to what happens in nature, is used to demolish a sometimes too rational rigor. The historian Enrico Crispolti reminds us of Munari’s innermost aims: “I want to go and see what lies beyond abstract art, do not believe that these experiences can be overcome by going back”.

    Munari summarizes in a slogan – the rule and the case – the formula necessary to remove abstract art from an algorithmic rigor that induces many artists, even many of the traveling companions of the Concrete Art Movement, to repeat themselves with paintings destined to a useless decorativism . Munari frequently uses the dual scheme of contrast between opposites. He uses this paradox even in the very name of the works: think of the negatives / positives, concave / convex, books / illegible, xero-copies / originals, machines / useless or arrhythmic.

    The idea is actually very simple, it arises from the theoretical understanding that only from the balance between the random event – or in other intellectual contexts, from the stimulus of the imagination – and the programming – the rationality of thought – can the maximum of expressiveness, through a dynamism of opposing forces that is perhaps the most important constant in the entire work of the author, since the time of his belonging to the futurist movement. [from the catalog text by Luca Zaffarano]

    The one born in Milan in 1907
    That of the useless machines of the 1930s
    That of the new children’s books of 1945 reprinted even today in various languages
    That of the Hour X (that of multiples) of 1945
    That of the illegible writings of unknown peoples, 1947
    That of the illegible books of 1949
    That of the negative-positive paintings of 1950
    The mechanical arrhythmias of 1951
    That of the 1952 polarized light projections
    That of the fountains and water games of 1954
    That of theoretical reconstructions of imaginary objects based on fragments of residues of uncertain origin and doubtful use, 1956
    That of the talking forks of 1958
    That of design
    That of the 1958 travel sculptures
    That of the fossils of two thousand, 1959
    That of continuous structures, 1961
    That of the original xerographies of 1964
    That of the ancestors, 1966
    That of the 1968 flexy
    That of Einaudi editorial graphics
    The passenger compartment of 1971
    That of the Danish educational games
    That of tactile messages for the blind of 1976
    That of bonsai
    That of the children’s workshops in the 1977 museum and of all the other laboratories in other countries
    That of roses in the salad
    That of the knitted lamp
    The oil on canvas of 1980
    That of High Voltage
    That of rotating colors
    That of the design course at Harvard University USA in 1967
    The one awarded with the gold compass, with an honorable mention from the Academy of Sciences of New York and the one awarded by the Japan Design Foundation “for the intense human value of its design

    Bruno Munari He was born on 24 October 1907 in Milan. After a few years his family emigrated to the Polesine where the artist spent his youth.
    In 1926, he returned to Milan immediately coming into contact with the artists of the Futurist movement.
    From there he began his artistic and professional career

    • 1927 He begins to exhibit his works in the collective exhibitions organized by the Futurist movement in Italy and in Europe.
    • 1928 With Aligi Sassu signs the manifesto on “Dynamism and Muscular Painting”, celebrating a new mechanical world with youthful enthusiasm.
    • 1929 Begins to work in advertising. With Gino Severini, Luigi Russolo, Fortunato Depero, Giacomo Balla, Enrico Prampolini and others he took part in the group exhibition Pittori Futuristi Italiani at the Galleria 23 in Paris. He contributes to found the Lombardo Radio – Futurist Group which debuts with a collective exhibition in Varese.
    • 1930 Creates the Aerial Machine and starts designing Useless Machines. He takes part in the XVII Venice Biennale. With Ricas (Riccardo Castagnedi) he opened the Studio R + M graphic studio and began to collaborate with many magazines such as: La Lettura, Natura, The Modern Office and The Wing of Italy.
    • 1931 Participates in the First Rome Quadrennial.
    • 1932 Participates in the XVIII Venice Biennale.
    • 1933 Exhibits photograms, photomontages and photo collages in a Futurist photography exhibition organized by F. T. Marinetti in Rome.
    • 1934 He exhibits his first Useless Machine in a Futurist exhibition, attracting the attention of Depero and Marinetti. Participates in the XIX Biennale of Venice. Buy the only painting sold by the Galleria del Milione in Milan on the occasion of Kandinsky’s first exhibition in Italy.
    • 1935 He becomes co-director with Ricas of the Ufficio Moderno magazine. He began working with Studio Boggeri and published the book Palette of Typographic Possibilities. Participates in the 2nd Rome Quadriennale.
    • 1936 Participates in the XX Venice Biennale.
    • 1937 Illustrates the Poem of the Milk Dress by Marinetti.
    • 1939 Works as artistic director of Tempo magazine. Participates in the III Rome Quadrennial.
    • 1940 He exhibits Metaphysical Objects at the Galleria del Milione in Milan where the poet Salvatore Quasimodo, the future Nobel Prize for literature, presents his work.
    • 1942 Publishes Munari’s book The Machines.
    • 1944 For the publisher Domus publishes the book Fotocronache. Personal exhibition of abstract paintings at the Ciliberti Gallery in Milan.
    • 1945 Using the spring movement of an alarm clock, he designed the kinetic Ora-X multiple, which was then produced by the Danish company in Milan in 1963.
    • 1946 In Paris at the first Salon des Réalités Nouvelles, a review of concrete art, it exhibits the Concavo-convex environment.
    • 1947 Participates in the exhibition Abstract and Concrete Art in Milan, the first exhibition of concrete art organized in Europe since the end of the war.
    • 1948 Participates in the foundation of the Concrete Art Movement (M.A.C.) with Gianni Monnet, Gillo Dorfles and Atanasio Soldati. He exhibits the Useless Machines and the Concave-convex in the personal exhibition at the Borromini Gallery in Milan. The series of Negative-positive paintings begins in which the distinction between figure and background is canceled, creating an effect of perceptive instability.
    • 1949 For the Italian company Pirelli designs the Gatto Meo, a moldable toy in foam rubber.
    • 1950 He continues his work with the M.A.C. Realize the Projections of Light using poor material of various types, transparent or semi-transparent. Personal exhibition of illegible books at the Salto bookstore in Milan. These books are born as unique specimens and tell visual stories without words through lines, colors, torn sheets, transparent sheets, cotton threads or other inserts.
    • 1951 The series of Arrhythmic Machines begins, in which the case is introduced thanks to the use of worn spring mechanisms. Personal exhibition of Objects Found in the Galleria dell’Annunciata in Milan, where he exhibited the collage Brandelli of posters found in Rue Monsieur le Prince, in Paris, on a wooden fence, a little discolored by rain.
    • 1953 First public screening of the Direct Projections in Milan at Studio B24. Start using the Polaroid filter to create Polarized Light Projections.
    • 1954 Wins his first Golden Compass for the Zizì Monkey, a deformable toy in armed foam.
    • 1955 He exhibited in the solo show Two Graphic Designers with Alvin Lustig at the MoMA in New York, where he presented his Illegible Books and Direct Projections.
    • 1956 Begins to compose the series of works Theoretical Reconstruction of an Imaginary Object based on Fragments of Residues of Uncertain Origin and Unknown Use, begun in Panarea in 1955 with the invention of an Imaginary Museum of the Aeolian Islands. First public screening of Polarized Projections in Milan at Studio B24.
    • 1958 Creates the Talking Forks and exhibits the Travel Sculptures – portable and folding sculptures in colored cardboard – at the Montenapoleone Gallery in Milan.
    • 1959 He began producing the Fossil series of works of 2000, compositions in which he used industrial technological residues immersed in perspex. Presents the “Multiple” Continuous Structures in Paris for the M.A.T. Editions, produced by Daniel Spoerri.
    • 1961 Exhibits in collective exhibitions of kinetic art curated by Pontus Hulten at the Stedelijk Museum in Amsterdam, the Moderna Museet in Stockholm and the Louisiana Museum in Humlebaek.
    • 1962 Organizes the Arte Programmata exhibition at the Olivetti store in Milan.
    • 1964 Munari is the first artist to experiment with the creative use of Xerox photocopiers, producing unique works of art called Original Xerographs thanks to the movement of images during the photocopy process.
    • 1965 Munari designs a fountain with 5 drops of water in Tokyo. Produces in limited edition the kinetic work Tetracono.
    • 1966 Participates in the Venice Biennale. Personal exhibition at the Howard Wise Gallery in New York.
    • 1967 Holds a series of lectures on visual communication at Harvard University, Cambridge (USA). Publish the Illegible Book No. Y. for the MoMA in New York.
    • 1968 Produces the ‘multiple’ Flexy for the Danish company in Milan.
    • 1969 Participates in the event Urban Camp in Como with the performance Far faring the Air and with polarized projections on moving screens.
    • 1973 Personal exhibition of illegible writings at the Sincron Gallery in Brescia.
    • 1974 Presents the series of works Colori nel Curva by Peano, inspired by the work of the famous Italian mathematician, at the Galleria Sincron in Brescia. Coordinates the graphic team that designs the new Lombardy Region logo.
    • 1980 Personal exhibition Oil on Canvas at the Sincron Gallery in Brescia.
    • 1981 Creates aerial structures called Filippesi made with aluminum tubes and cotton threads at the Sincron Gallery in Brescia.
    • 1986 Personal room at the Venice Biennale with the series of works Olio su Tela. Anthological exhibition at the Palazzo Reale in Milan. Exhibition of Projects and Objects at the UXA Studio in Novara curated by Miroslava Hàjek.
    • 1988 Anthological exhibition at the Jerusalem Museum and at the University of Genoa, where in Munari the Honoris Causa Degree in Architecture is conferred.
    • 1990 For the Sincron Gallery in Brescia he produced the series of works entitled High Tension, sculptures connected to the Tensile structures produced in the 1930s.
    • 1994 Anthological exhibition Bruno Munari. Unexplored areas. Works 1933-1994 at the UXA Studio in Novara curated by Miroslava Hàjek. Presents the series of trees Trees at the Corraini Gallery in Mantua.
    • 1995 Solo exhibition at the Museum für Gestaltung in Zurich.
    • 1997 Exhibition of “original xerographies” entitled Portraits and Self-portraits of friends and collectors at the Sincron Gallery in Brescia. Personal exhibition Installations at the Museum of Modern Art in Klenova (Czech Republic) curated by Miroslava Hàjek ..

    Bruno Munari died in Milan on September 30th 1998.

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