In May 1962, the Olivetti showroom in the Galleria Vittorio Emanuele in Milan hosted the exhibition Arte programmata. Arte cinetica. OPere moltiplicate. Opera aperta, organized by Bruno Munari and Giorgio Soavi. On show, in addition to pieces by Munari himself, were works by Enzo Mari, the Italian Gruppo T and Gruppo N. Munari's collaboration with Olivetti over Programmed Art was relatively brief: yet, n the space of only five years, the artists associated with it found success and popularity not only in Italy but also in Europe more broadly and in the US. While the success of Munari's collaboration had enabled the artists involved in Programmed Art to develop a new conceptual and visual vocabulary, Munari's final assessment of it was sceptical. This chapter aims to interlink several moments between 1961 and 1967 in the course of which the original idea of Programmed Art came to be progressively modified, if not radically transfigured when the success of Programmed Art on the European and American markets became increasingly irreconcilable with the original purposes Munari had conceived for it.
Antonello, P., Nardelli, M., Zanoletti, M., Merjian, A.H., White, A., Schnapp, J., et al. (2017). Bruno Munari versus Programmed Art: A Contradictory Situation, 1961-1967. In M.N. Pierpaolo Antonello (a cura di), Bruno Munari. The Lightness of Art (pp. 90-111). Oxford : Peter Lang.
Bruno Munari versus Programmed Art: A Contradictory Situation, 1961-1967
Giovanni Rubino
2017-01-01
Abstract
In May 1962, the Olivetti showroom in the Galleria Vittorio Emanuele in Milan hosted the exhibition Arte programmata. Arte cinetica. OPere moltiplicate. Opera aperta, organized by Bruno Munari and Giorgio Soavi. On show, in addition to pieces by Munari himself, were works by Enzo Mari, the Italian Gruppo T and Gruppo N. Munari's collaboration with Olivetti over Programmed Art was relatively brief: yet, n the space of only five years, the artists associated with it found success and popularity not only in Italy but also in Europe more broadly and in the US. While the success of Munari's collaboration had enabled the artists involved in Programmed Art to develop a new conceptual and visual vocabulary, Munari's final assessment of it was sceptical. This chapter aims to interlink several moments between 1961 and 1967 in the course of which the original idea of Programmed Art came to be progressively modified, if not radically transfigured when the success of Programmed Art on the European and American markets became increasingly irreconcilable with the original purposes Munari had conceived for it.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
