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Bruno Persat, Trying to make a work of art by thinking of Babylon . . . , 2011, charcoal on wall, dimensions variable. From “Le Sentiment des choses” (The Feeling of Things).

“Le Sentiment des choses”

Frac Île-de-France/Le Plateau

Bruno Persat, Trying to make a work of art by thinking of Babylon . . . , 2011, charcoal on wall, dimensions variable. From “Le Sentiment des choses” (The Feeling of Things).

A completely delightful mental exercise was offered by the curatorial team Yoann Gourmel and Elodie Royer: Take an artist unjustly relegated to obscurity by art history because unassimilable to a particular medium or movement; revisit his multifarious oeuvre, measuring it by the yardstick of contemporary standards; then peer into the cracks thus opened to illuminate, by the light of a new day, many of today’s works and practices. This magic formula is that of “Le Sentiment des choses” (The Feeling of Things), the stunning “prospective retrospective” not so much of as around the work of artist and designer Bruno Munari, who was born in 1907 in Milan and passed away there in 1998. The brilliant inventor of many surreal treasures for daily use—talking forks, mobile sculptures, knitted lamps, unreadable books—Munari was also one of the pioneers of Concrete art and the author

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