Brn Mnr 1907-1998
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Banner credits
 
Nel banner particolari di: Xeroritratto di Bruno Munari; Munari 1966, fotografie di Ada Ardessi, Biennale di Venezia courtesy ISISUF Milano; Munari 1950, fotografia di Federico Patellani; Munari con Macchina Inutile 1956, fotografia di Aldo Ballo
 
 
Database
 
464 documents
available now!
 
 
Recent Entries
 

D. Buzzati, Il folletto Munari – Quarant'anni di nuove idee, Corriere della Sera, 22 ottobre 1971

Film Festival organizzato da Pontus Hulten: Proiezioni di Munari al Moderna Museet di Stockholm nel 1958

Depliant della mostra collettiva a Krefeld nel 1984

D. Buzzati, Ha fatto un libro strappando le pagine, in Corriere d'Informazione 10 dicembre 1955

Concavo e Convesso, in Domus ottobre-dicembre 1947

B. Munari, Manifesto dei multipli, Centro operativo Sincron, Brescia, 1968

B. Munari, Manifesto dei multipli, Centro operativo Sincron, Brescia, 1970

B. Munari, Guerra e Pace - Si cammina così - Sentirò la mia voce al telefono, in Humor nel mondo n°1, Giugno 1949

G. Kosice, Las búsquedas experimentales de Munari, in Geocultura de la Europa de hoy Ediciones Losange, Buenos Aires, 1959 (espanol)

B. Munari, Tanti saluti con fantasia, in Stampa Alternativa Roma 1987

R. Carrieri, Munari illusionista degli spazi, in Natura nov-dic 1932

B. Munari, L'Abecedario di Munari, Stile Robinson, Una casa a Fiumetto in Stile n. 30 Giugno 1943 Garzanti Editore

Marylin McCray, Catalogue Electroworks (excerpts), International Museum of Photography & Film, George Eastman House Publisher, Rochester N.Y., 1979

B. Munari, La grafica tridimensionale di Max Huber, in Design n. 4, Bergamo 1975

Bollettino del MAC N.1 - Oggetti Trovati

B. Munari, Belle e Brutte, in L'Automobile - marzo 1967

B. Munari, Surrealismo. E’ un film di Grandi Firme, in Le Grandi Firme - giugno 1938

B. Munari, Diagramma, in Orpheus - dicembre 1932

M. Datini jr., Notizie delle arti, in Le Arti luglio -agosto 1970

B. Munari, Dall'individualismo al collettivismo, in Arte Centro Milano, aprile - giugno 1975

Gruppo Q, Munari. Spazio Abitabile, Stampa Alternativa, Roma, 1999

C. L. Ragghianti, in Catalogo della mostra Ricerche visive, strutture e design di Bruno Munari La Strozzina, Palazzo Strozzi, Firenze, 1962

Bruno Munari, Astratto e concreto, in Catalogo della mostra Arte concreta, 9-24 aprile 1983, Palazzo del Ridotto Cesena, Ed. Industria Litografica SILA, Cesena 1983

M. Perazzi, Questo è il mio segreto, non mi arrabbio mai, in La Domenica del Corriere 26 marzo 1983, n.13 anno 1985

A. Segàla, Bruno Munari, in Epoca 28 novembre 1986, Milano, pp. 88-92

A. Linke, Bruno Munari: le regole del genio, in Frigidaire 1987

A. Nosari, Ansia di velocità, in L'Ala d'Italia 1 ottobre, 1938


 
Biographical Notes

 

1907
Born 24 October, Milan. After a few years his family moves to the Polesine area southwest of Venice where the artist spends his youth.

1926
Having returned to Milan, Munari immediately comes into contact with members of the Futurist movement.

1927
Starts to exhibit his work in the collective shows of the Futurist group in Italy and Europe.

1928
With Aligi Sassu, Munari signs the manifesto 'Dynamism and Muscular Painting', celebrating a new mechanical world with juvenile enthusiasm.

1929
Starts to work in advertising. Along with Gino Severini, Luigi Russolo, Fortunato Depero, Giacomo Balla, Enrico Prampolini and others, he participates in the collective exhibition Peintres Futuristes Italiens held at the Galerie 23 in Paris. Contributes to the foundation of the Lombardy Radio-Futurist Group which makes its debut with a group show in Varese.

1930
Produces the Aerial Machine and begins to design his Useless Machines. Participates in the XVII Venice Biennale. With Ricas (Riccardo Castagnedi) Munari opens a graphic studio named Studio R+M and begins to collaborate with several magazines such as La Lettura, Natura, L'Ufficio Moderno and L'Ala d'Italia.

1931
Participates in the I Rome Quadriennale.

1932
Participates in the XVIII Venice Biennale.

1933
Photograms, photomontages and photocollages exhibited in an exhibition of Futurist photography organised by F. T. Marinetti in Rome.

1934
Exhibits his first Useless Machines in Futurist exhibitions, attracting the attention of Depero and Marinetti. Participates in the XIX Venice Biennale. Purchases the only painting sold at Kandinsky's first exhibition in Italy, held at the Galleria del Milione in Milan.

1935
With Ricas, Munari becomes co-director of the magazine Ufficio Moderno. Starts to collaborate with Studio Boggeri and publishes the book Palette of Typographical Possibilities. Participates in the II Rome Quadriennale.

1936
Participates in the XX Venice Biennale.

1937
Illustrates Marinetti's Poem of the Milk Dress.

1939
Works as the graphic director of the magazine Tempo. Participates in the III Rome Quadriennale.

1940
Exhibition of Metaphysical Objects at Milan's Galleria del Milione, where the poet Salvatore Quasimodo, who will later win the Nobel Prize for Literature, also presents his work.

1942
Publishes the book Munari's Machines.

1944
Domus publishes his book Photochronicles. Solo exhibition of abstract paintings held at Galleria Ciliberti, Milan.

1945
Using the spring-driven movement of an alarm clock, Munari designs the kinetic 'multiple' X Hour, which will be produced by Danese of Milan in 1963.

1946
At the first Paris Salon des Réalités Nouvelles, an exhibition focusing on concrete art, Munari exhibits the environmental piece Concave-convex.

1947
Participates in the exhibition Abstract and Concrete Art in Milan, the first international show to be organized in Europe since the end of the war.

1948
Participates in the foundation of the Movimento Arte Concreta (M.A.C.) with Gianni Monnet, Gillo Dorfles and Atanasio Soldati. Displays Useless Machines and the Concave-convex at his solo exhibition at the Galleria Borromini in Milan. Begins the series of paintings entitled Negative-positives in which the distinction between foreground and background is annulled, creating a sense of perceptual instability.

1949
For the Italian company Pirelli, Munari designs Meo the Cat, a posable polyurethane foam toy.

1950
Continuing his work with M.A.C., Munari produces his Light Projections by employing transparencies. Solo exhibition of Illegible Books at the Salto bookshop in Milan. The books are conceived of as unique, wordless pieces telling stories through images, lines, colours, torn pages, transparencies, cotton threads and other pull-out elements.

1951
Begins the Arrhythmic Machine series, in which chance is introduced by the use of clockwork elements. Solo exhibition of Found Objects at the Galleria dell'Annunciata in Milan, where the collage Fragments of Posters found in Rue Monsieur le Prince, in Paris, on a Wooden Fence, a bit Washed-out by Rain is displayed.

1953
First Direct Projections shown in public in Milan at Studio B24. Begins to employ a polaroid filter to produce Projections of Polarised Light.

1954
Wins the first Compasso d'oro (Golden Compass Award) for Zizì the Monkey, a flexible toy made in expanded polyurethane foam.

1955
Exhibition Two Graphic Designers with Alvin Lustig at MoMA, New York, where Munari presents his Illegible Books and Direct Projections.

1956
Begins to produce the series of works Theoretical Reconstruction of Imaginary Objects Based on Residual Fragments of Uncertain Origin and of Unknown Usage, started in Panarea in 1955 with the invention of an Imaginary Museum of the Aeolian Islands. First Polarised Projections shown in Milan at Studio B24.

1958
Creates the Speaking Forks and exhibits his Travel Sculptures – portable sculptures made in foldable coloured cardboard – at Galleria Montenapoleone in Milan.

1959
Starts to produce the series Fossils of the Year Two Thousand, compositions obtained from industrial detritus. Presents the 'multiple' Continuous Structures in Paris for Edition M.A.T., produced by Daniel Spoerri.

1961
Exhibits in group shows of kinetic art organised by Pontus Hulten at the Stedelijk Museum, Amsterdam, the Moderna Museet, Stockholm and the Louisiana Museum, Humlebaek.

1962
Organises the exhibition Programmed Art at the Olivetti showroom in Milan.

1964
Munari becomes the first artist to experiment with the creative possibilities of xerox machines, producing unique artworks entitled Original Xerographs by means of the movement of images during the photocopying process.

1965
Munari designs a Fountain of 5 Water Drops for Tokyo. Produces the limited edition kinetic work Tetracone.

1966
Participates in the Venice Biennale. Solo show at the Howard Wise Gallery, New York.

1967
Holds a series of lectures in visual communication at Harvard University, Cambridge (USA). Publishes the Illegible Book N.Y. 1 for MoMA.

1968
Produces the 'multiple' Flexy for the Danese company.

1969
Participates in the event Urban Field held in Como, with the performance Making the Air Visible and the creation of polarised projections onto moving screens.

1973
Solo exhibition of Illegible Writings at Galleria Sincron in Brescia.

1974
Starts the series of works Colours in Peano's Curve, inspired by the work of the famous Italian mathematician, at Galleria Sincron in Brescia. Directs the working team who will design the new logo of the Lombardy Region.

1980
Solo exhibition Oil on Canvas at Galleria Sincron.

1981
Produces aerial structures entitled Threadweights with tubes and cables for the Galleria Sincron.

1986
Works 1935-1986, Galleria Sincron Brescia. Solo room at the Venice Biennale with the series Oil on Canvas. Anthological exhibition at Palazzo Reale in Milan.

1988
Anthological exhibitions at the Museum of Jerusalem and the University of Genoa, where Munari is conferred with an Honoris Causa Degree in Architecture.

1990
For the Galleria Sincron Munari produces the series of works entitled High Tension, sculptures linked to the Tensostructures produced during the 1930s.

1994
Anthological exhibition Bruno Munari Unexplored Zones. Works 1933-1994 at Studio UXA, Novara. Presents the series of works entitled Trees at the Galleria Corraini, Mantua.

1995
Solo exhibition at Museum für Gestaltung, Zurich.

1997
Exhibition of 'original xerographs' entitled Portraits and Self Portraits of the artist's collector friends at the Galleria Sincron. Solo exhibition entitled Installations at the Museum of Modern Art in Klenova (Czech Republic).

1998
Munari dies in Milan on 30 September.


Download the biographical notes (English)

Scarica la biografia (Italiano)





Concave-convex 1947
Installation at Estorick Collection of Modern Italian Art
London September - December 2012
Photo by ©Pierangelo Parimbelli




Useless Machine 1945-1995
Photo by ©Pierangelo Parimbelli






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Last Modified: 16 November 2017 23:06:20