spider’s web

In 1961, at the age of 20, Monguzzi started his career at the legendary Studio Boggeri in Milan, one of the leading design and advertising agencies in Italy at that time. Monguzzi recalls an early conversation with Antonio Boggeri, in which Boggeri compared Swiss graphic design with a spider’s web—a perfect geometric construction that was often completely useless. The web performs its function only when invaded by the entangled fly. “It was then,” Monguzzi said, “that my use of type and pictures began to grow towards more expressive solutions.”

 

i often try to figure out what is going on, how does he do it? i think this has something to do with his visceral response to the subject, be it furniture, work of art or a photograph of weeping women. he is all empathy and then he proceeds to use his intelligence and craft to manifest these feelings for the viewer, to give them a visual presence.
—american graphic designer louis danziger on monguzzi's work, los angeles 1998



Bruno, Nicolas, Anna, and Elisa Monguzzi

Bruno, Nicolas, Anna, Elisa Monguzzi, 1979. © Gene Federico.

disobey the brief

Right after the Irpinia earthquake in 1980, Monguzzi was asked by the city of Milan to create a poster to inspire help for the victims. It was agreed that Monguzzi would make a strictly typographical black-and-white diptych that would include a poem by Franco Fortini and a second brief text. Monguzzi, however, made a single poster, using a photographic image of two mourning women. When he presented his work the next day, the audience—more than 20 politicians—remained silent for a long time. The commission accepted Monguzzi’s new solution: it was indeed more powerful.

City of Milan. “Di mano in mano…” For the assistance of earthquake victims in Irpinia. Poster, 1980, 98×140 cm. Photo Dpa, Die Welt.

A poster Di mano in mano… for the assistance of earthquake victims in Irpinia
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