Slap Stapler
The architect and designer Juli Capella has compiled the best finds of Spanish design in the book Made in Spain. On the right, down, Casco Stapler, designed by Solozábal and Olave in 1934, and used in the offices of half the world. According to Capella, "is military-inspired, each clip has to go walking around their track with the precision of a bullet in the barrel. " Capella, in his book how was the famous oil drip Rafael Marquina: when he set out to design it for presentation to the FAD Delta award, remembered the blows he received from his mother when he dropped a plate attached by the fat to a traditional oil. "Marquina, collects more than 40 illegal copies of its model," writes Capella slap stapler. Enric Bernat invented the candy does not stick, but it started to manufacture industrially under the name Chups in 1959. Then it became lollipops after a radio ad popularized this term. According to the architect Oscar Tusquets, this is the best Spanish design of all time. The olives stuffed with anchovies began to be produced industrially by Serpis brand in 1926. For Capella, "Open each olive, attach a piece of fish and put back the lid has a lot of project, is design slap stapler. . 3 - The literature to date highlights the painful immobilit, ecstasy, and sleep. We want to exalt the aggressive movement, feverish insomnia, the running pace, the mortal leap, the slap stapler and the punch. Dear listeners, those who have just heard are the first four points of the Manifesto of Futurism, Filippo Tommaso Marinetti, so as they appeared in the French daily "Le Figaro, February 20, 1909. Few people know it was for our region, the 'Emilia Romagna to christen the movement which quickly through all the arts: it was February 5, 1909 when the "Journal of Emilia" public world premiere, the text of the Manifesto of Futurism foundation, then consecrated the publication in Paris, a few days later slap stapler. But already before, in December of 1906, Marinetti himself on stage at the Teatro Regio of Parma proposed, in French, that hate the car in which advances the theme of the myth of the mechanical means sidereal speed and intoxication of a precursor of the subsequent birth of the movement. therefore right that the Emilia Romagna and Parma to celebrate the centenary of Futurism. He did the Magnani Rocca Foundation with an interesting exhibition curated by Stefano Roffi which will be on display until 8 December. FUTURE! by Boccioni all'Aeropittura brings together over one hundred works really surprising that offer a comprehensive overview and detailed the various stages of Futurism. Just a century separates us from 1909 in many ways a year full of momentous events that explain the necessity of this group of artists to change their way of reading and interpreting the world: the year 1909 when the Bologna Guglielmo Marconi receives the Nobel Prize, is the motorcycle Gilera, Louis Blriot crosses the English Channel and the monoplane, the sky Centocelle Wilbur Wright climbs on new means of transport heavier than air and makes the first aerial evolutions in Italy slap stapler. Futurism is placed on the wave of technological revolution of the early twentieth century, Marinetti Art brings the dynamism, speed industry. From the standpoint of the Futurist style is based on the concepts of Pointillism, represented in the exhibition, among others, from the masterpiece novel by Boccioni a slap stapler that best expresses the basic concepts of speed and simultaneity. The movement involves in fact the object and the space in which it moves, the dynamic multi-colored and polyphonic trains, cars, dance and everyday actions highlighted, among others, on display in the work of Balla, Severini, and Russolo, colors and brush strokes that highlight the thrust of the forms. After the death of Boccioni's Futurism in 1916 moves from Milan to Rome: the birth of the second cos futurism. At its initial phase, between 1918 and 1928, more culture-bound post-Cubist, constructivist, it happens a new phase (1929-38), plus close to surrealism, with advanced multi-material space and connotations slap stapler. The Aeropainting, we see developed in the exhibition, is part of the second futurism. Among the artists representative of this second period we find Doctors, Crali, Tato, Oriani, Fillia Modena and Enrico Prampolini. The exhibition also features a section dedicated to the art of advertising codified in the 1931 Campari Number One Futurist Depero, with posters, drawings and books of the twenties and thirties, the bright colors typical of Futurism and Rationalism by the rigors of the first. Among the artists featured in this section of the exhibition, Carboni, Diulgheroff, Nizzoli, Boccasile, Fountain, over the same Depero. Exhibition and Catalogue by Stefano Roffi interventions in the catalog Buscaroli Beatrice, Mary Faith Caproni, Alberto Manzoli, Corrado Mingardi, Mirko Nottoli, Stefano Roffi and Maurizio Scudiero slap stapler. . .
