Xerografia. Documentazione sull'uso creativo delle macchine Rank Xerox
Bruno Munari
1970
Xerografia. Documentazione sull'uso creativo delle macchine Rank Xerox
Xerografia. Documentazione sull'uso creativo delle macchine Rank Xerox
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From 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.   Munari made his ...
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Xerografia. Documentazione sull'uso creativo delle macchine Rank Xerox
Bruno Munari
1970
N.p. [Venice]: Rank Xerox
Unpaginated [52 pages]
29.6 × 21.1 cm
Signed

From 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.


 


Munari made his xerographies by moving images, patterns, and textures while they were being scanned, creating unique and unrepeatable compositions. Instead of using the photocopier simply to reproduce an image, he used it as a tool for making new ones. Through movement, he explored xerography as a way of drawing with surfaces rather than lines, creating effects that photography could not achieve.


 


For the 1970 Venice Biennale, Munari presented an experimental laboratory with a working Xerox machine. The public could use the machine to create original graphic works and xerographies on the spot. The project showed how the photocopier could become a tool for artistic experimentation rather than simply a means of reproduction.


 


The artist’s book accompanying Munari’s performative intervention at the Biennale develops this idea further, functioning as a kind of manifesto for the creative use of the XEROX. Its epigraph, quoting Marshall McLuhan, reads: “La xerografia saluta l'avvento della pubblicazione istantanea. Adesso chiunque può diventare autore ed editore.” (“Xerography heralds the times of instant publishing. Anybody can now become both author and publisher.”)


 


Munari’s experiments are both visual and tactile. He explores how the Xerox responds to different textures, surfaces, and materials, using the machine to discover unexpected effects. Unrepeatable in the range of its experiments, the book becomes at once a manual, a vademecum, a catalogue, a commercial booklet, and a poetic exploration of technology.


 


Munari’s early investigations into the possibilities of the XEROX machine resonate with the experimental photocopy works of Alighiero Boetti, including 111 (1992), as well as with Sigmar Polke’s Daphne (2004), both of which are part of the Metabooks collection.

N.p. [Venice]: Rank Xerox
Unpaginated [52 pages]
29.6 × 21.1 cm
Signed

From 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.

 

Munari made his xerographies by moving images, patterns, and textures while they were being scanned, creating unique and unrepeatable compositions. Instead of using the photocopier simply to reproduce an image, he used it as a tool for making new ones. Through movement, he explored xerography as a way of drawing with surfaces rather than lines, creating effects that photography could not achieve.

 

For the 1970 Venice Biennale, Munari presented an experimental laboratory with a working Xerox machine. The public could use the machine to create original graphic works and xerographies on the spot. The project showed how the photocopier could become a tool for artistic experimentation rather than simply a means of reproduction.

 

The artist’s book accompanying Munari’s performative intervention at the Biennale develops this idea further, functioning as a kind of manifesto for the creative use of the XEROX. Its epigraph, quoting Marshall McLuhan, reads: “La xerografia saluta l'avvento della pubblicazione istantanea. Adesso chiunque può diventare autore ed editore.” (“Xerography heralds the times of instant publishing. Anybody can now become both author and publisher.”)

 

Munari’s experiments are both visual and tactile. He explores how the Xerox responds to different textures, surfaces, and materials, using the machine to discover unexpected effects. Unrepeatable in the range of its experiments, the book becomes at once a manual, a vademecum, a catalogue, a commercial booklet, and a poetic exploration of technology.

 

Munari’s early investigations into the possibilities of the XEROX machine resonate with the experimental photocopy works of Alighiero Boetti, including 111 (1992), as well as with Sigmar Polke’s Daphne (2004), both of which are part of the Metabooks collection.

DESCRIPTION

From 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.

 

Munari made his xerographies by moving images, patterns, and textures while they were being scanned, creating unique and unrepeatable compositions. Instead of using the photocopier simply to reproduce an image, he used it as a tool for making new ones. Through movement, he explored xerography as a way of drawing with surfaces rather than lines, creating effects that photography could not achieve.

 

For the 1970 Venice Biennale, Munari presented an experimental laboratory with a working Xerox machine. The public could use the machine to create original graphic works and xerographies on the spot. The project showed how the photocopier could become a tool for artistic experimentation rather than simply a means of reproduction.

 

The artist’s book accompanying Munari’s performative intervention at the Biennale develops this idea further, functioning as a kind of manifesto for the creative use of the XEROX. Its epigraph, quoting Marshall McLuhan, reads: “La xerografia saluta l'avvento della pubblicazione istantanea. Adesso chiunque può diventare autore ed editore.” (“Xerography heralds the times of instant publishing. Anybody can now become both author and publisher.”)

 

Munari’s experiments are both visual and tactile. He explores how the Xerox responds to different textures, surfaces, and materials, using the machine to discover unexpected effects. Unrepeatable in the range of its experiments, the book becomes at once a manual, a vademecum, a catalogue, a commercial booklet, and a poetic exploration of technology.

 

Munari’s early investigations into the possibilities of the XEROX machine resonate with the experimental photocopy works of Alighiero Boetti, including 111 (1992), as well as with Sigmar Polke’s Daphne (2004), both of which are part of the Metabooks collection.

N.p. [Venice]: Rank Xerox
Unpaginated [52 pages]
29.6 × 21.1 cm
Signed

From 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.

 

Munari made his xerographies by moving images, patterns, and textures while they were being scanned, creating unique and unrepeatable compositions. Instead of using the photocopier simply to reproduce an image, he used it as a tool for making new ones. Through movement, he explored xerography as a way of drawing with surfaces rather than lines, creating effects that photography could not achieve.

 

For the 1970 Venice Biennale, Munari presented an experimental laboratory with a working Xerox machine. The public could use the machine to create original graphic works and xerographies on the spot. The project showed how the photocopier could become a tool for artistic experimentation rather than simply a means of reproduction.

 

The artist’s book accompanying Munari’s performative intervention at the Biennale develops this idea further, functioning as a kind of manifesto for the creative use of the XEROX. Its epigraph, quoting Marshall McLuhan, reads: “La xerografia saluta l'avvento della pubblicazione istantanea. Adesso chiunque può diventare autore ed editore.” (“Xerography heralds the times of instant publishing. Anybody can now become both author and publisher.”)

 

Munari’s experiments are both visual and tactile. He explores how the Xerox responds to different textures, surfaces, and materials, using the machine to discover unexpected effects. Unrepeatable in the range of its experiments, the book becomes at once a manual, a vademecum, a catalogue, a commercial booklet, and a poetic exploration of technology.

 

Munari’s early investigations into the possibilities of the XEROX machine resonate with the experimental photocopy works of Alighiero Boetti, including 111 (1992), as well as with Sigmar Polke’s Daphne (2004), both of which are part of the Metabooks collection.

MORE BOOKS

From 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.

 

Munari made his xerographies by moving images, patterns, and textures while they were being scanned, creating unique and unrepeatable compositions. Instead of using the photocopier simply to reproduce an image, he used it as a tool for making new ones. Through movement, he explored xerography as a way of drawing with surfaces rather than lines, creating effects that photography could not achieve.

 

For the 1970 Venice Biennale, Munari presented an experimental laboratory with a working Xerox machine. The public could use the machine to create original graphic works and xerographies on the spot. The project showed how the photocopier could become a tool for artistic experimentation rather than simply a means of reproduction.

 

The artist’s book accompanying Munari’s performative intervention at the Biennale develops this idea further, functioning as a kind of manifesto for the creative use of the XEROX. Its epigraph, quoting Marshall McLuhan, reads: “La xerografia saluta l'avvento della pubblicazione istantanea. Adesso chiunque può diventare autore ed editore.” (“Xerography heralds the times of instant publishing. Anybody can now become both author and publisher.”)

 

Munari’s experiments are both visual and tactile. He explores how the Xerox responds to different textures, surfaces, and materials, using the machine to discover unexpected effects. Unrepeatable in the range of its experiments, the book becomes at once a manual, a vademecum, a catalogue, a commercial booklet, and a poetic exploration of technology.

 

Munari’s early investigations into the possibilities of the XEROX machine resonate with the experimental photocopy works of Alighiero Boetti, including 111 (1992), as well as with Sigmar Polke’s Daphne (2004), both of which are part of the Metabooks collection.

MORE BOOKS