Milan

Bruno Munari, Negativo-Positivo, 1990, oil on canvas, 56 × 56".

Bruno Munari, Negativo-Positivo, 1990, oil on canvas, 56 × 56".

Bruno Munari

Galleria Giovanni Bonelli

Bruno Munari, Negativo-Positivo, 1990, oil on canvas, 56 × 56".

It is a difficult task to condense into one exhibition all the branches of visual research undertaken by the Milanese designer and inventor Bruno Munari (1907–1998). His output spanned from the late 1920s—when he participated in the so-called Second Futurism movement—to the final years of his life, when he staked out a position as an artist. In the intervening sixty years, he eschewed rigid disciplinary boundaries, applying his concept of design to a broad range of visual practices. For this reason, his work has historically been most revered in such fields as industrial and graphic design—as opposed to art—in which practitioners are encouraged to challenge the aura of the producer, or where the primacy of the producer is less important than the product itself. Galleria Giovanni Bonelli’s recent exhibition of Munari’s work reminded the viewer that this artist

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