The Plart in Naples shows a peculiar aspect of Bruno Munari, not presented as the designer we know, but as the experimental artist who used light projections

Fondazione Plart, Bruno Munari, Fixed light glasses,1950, various materials

‘Bruno Munari. I colori della luce’ is the exhibition running from today until March 20th, 2019, curated by Miroslava Hajek and Marcello Francolini, organized by Fondazione Plart and Fondazione Donnaregina per le arti contemporanee at the Plart Museum (via Giuseppe Martucci 48, Naples).

Fondazione Plart, Bruno Munari, Polarized light glasses, 1953, various materials

It is a rare opportunity to see a particular aspect of Bruno Munari’s work, who became famous as a designer, but less known as a kinetic and programmatic artist. His works in ‘projected painting’ remained unknown for a long time, except for the shows that took place in 1953 and 1955 in Milan, New York, Rome, Tokyo, Stockholm, Antwerp, Zurich, Amsterdam.

Fondazione Plart, Bruno Munari, Polarized light glasses, 1950, various materials

His ‘Proiezioni a luce fissa’ (‘polarized light projections’) and ‘Proiezioni a luce polarizzata’ (‘fixed light projections’) were the result of Bruno Munari’s research carried out in the Fifties to conquer a new spatiality, beyond two-dimensional reality. Therefore he worked on ‘Proiezioni dirette’ (‘direct projections’): slides obtained thanks to small collages enclosed between two glasses.

Munari arrived at the spectrum dispersion through a Polaroid lens applied to the slide projector, starting painting with dynamic, ever changing light. The studies conducted by the eclectic designer on the relationship between art and technology had great influence on Kinetic Art in France and Programmed Art in Italy, anticipating some aspects of contemporary art.

Fondazione Plart, Bruno Munari, Fossile del 2000, 1958, electronic components and various metal materials immersed in transparent resin

To exhibit and preserve the works dating back to nearly seventy years ago, Fondazione Plart carried out the delicate digitization of glasses, projected in special environments along with other works by the master such as ‘Macchina Inutile’ (1934), ‘Punto di luce’ (1942), ‘Fossile del 2000’ (1958), which show Munari’s interest for plastic materials, often used for both Direct and Polarized Projections. [Text Giulia Bruno – Photo courtesy Miroslava Hajek, copyright Bruno Munari, all rights reserved to Maurizio Corraini]