Readymag Stories: Bruno Monguzzi

the last inhabitant of the world of pencils

This is how Dieter Bachmann, a Swiss publicist and writer, has described Bruno Monguzzi. Indeed, Monguzzi prefers working with his hands to using computers and executes his work with astounding accuracy and artisanal skill. He handles tools, scissors and pens, obviously enjoying the materiality of the process.

A poster with a silhouette of a hand holding a white circle with a hole in it

Kunsthaus, Zürich. “Anwesenheit bei Abwesenheit.” Poster, 1990, 128×90.5 cm. Photogram Bruno Monguzzi.

A poster with a black word Fragile on a white background

Museo Cantonale d’Arte, Lugano. “Fragile.” Poster, 1997, 128×90.5 cm.

A poster. Grey, brown and black letters on a white background

A poster. A boxing glove punching a face

Arti Grafiche Nidasio, Milano. “Abecedario,” 1981, 10.6×33 cm. © Bruno Monguzzi.

Museo Cantonale d’Arte, Lugano. “Panza di Biumo, Donazione.” Triptych, 1995, 128×271.5 cm.

disobey the wrong briefs. disobey the rules when they don’t allow you to reach the proper goal. don’t let fashion, style and trends rip pages out of the dictionary of visual communication. —bruno monguzzi

A poster. Two heads, one inside the other, looking in opposite directions

Detail, Musée Toulouse-Lautrec, Albi. “Nouveau Salon des Cent.” Poster, 2001, 100×70 cm. Photomontage Bruno Monguzzi.

tangible vs. virtual

The tasks that many designers nowadays would do on computer, Monguzzi prefers to do with his hands. He uses traditional tools, like pens and scissors, arranging printed spreads, cutting and drawing, and truly enjoying the materiality of the process. His works therefore have a strong tactile quality and his books and catalogues sometimes remind the viewer of sculptural objects that unfold in space and time.

Alice Edizioni, Comano. “Arcipelaghi,” “Cartografie,” “Sconfini,” “Corbaro” and “Autografie” series, 1987, 23×14 cm.