Bruno Munari - Untitled

This work by Bruno Munari from the 1970s originates from the various movements that, at that time, were investigating and stimulating visual perception, both through the traditional methods of painting and sculpture, but also through innovative mechanical means that allowed for serial reproduction. Besides the obvious reference to the Spatialism founded by Lucio Fontana, particularly in the 1970s, it was so-called Optical Art, but also Kinetic Art and Programmed Art, that achieved the most significant results in this regard.

Bruno Munari's artistic research, as demonstrated by the work in question, often merges with the principles of graphic design rather than painting. In this case, the artist creates a beautiful drawing, using pure and simple line in particular. Against a red background, the black line constructs an intricate design, whose complex minimalism and pronounced symmetry undoubtedly reference the aesthetics of the 1970s, particularly those related to visual perception. However, with Bruno Munari, a completely unique element, specific to this great artist, comes into play: that of play. Indeed, it is no coincidence that Munari's drawing unfolds like a veritable labyrinth, its conception clearly echoing the playful and imaginative foundation that characterizes the Milanese artist's work.

Bruno Munari (Milan, 1907 – 1998) was an Italian artist, designer and writer. Munari participated in Futurism at a very young age, from which he distanced himself with a sense of lightness and humor, inventing the Macchina Aria (1930), the first mobile in the history of art, and the Macchine Uso (Useless Machines) (1933). In 1948 he founded the MAC (Movimento Arte Concreta) together with Gillo Dorfles, Gianni Monnet and Atanasio Soldati. This movement acted as a coalition of Italian abstractionist movements, proposing a synthesis of the arts, capable of combining traditional painting with new tools of communication and capable of demonstrating to industrialists and artists the possibility of a convergence between art and technology. In 1947 he created Concavo-convesso, one of the first installations in the history of art, almost contemporary with, though preceding, the black environment that Lucio Fontana presented in 1949 at the Galleria Naviglio in Milan. This is a clear sign that the issue of an art that becomes an environment and in which the viewer is stimulated not only mentally but also in a multi-sensorial way was now mature. In 1950, he created projected painting through abstract compositions enclosed between slides, and he deconstructed light using a Polaroid filter, creating polarized painting in 1952, which he presented at MoMA in 1954 with the exhibition Munari's Slides. He is considered one of the protagonists of programmed and kinetic art, but his highly refined art eludes definition and categorization due to the multiplicity of his activities and his vast and intense creativity.

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