It isn’t art and it’s not design. It’s miriorama. Miriorama means endless visions (in ancient greek orao, to see, and myrio indicating a nearly infinite quantity). So, Gruppo T (the “T” stands for time), founded in 1959 by Giovanni Anceschi, Davide Boriani, Gianni Colombo, Gabriele Devecchi, joined a month later, by Grazia Varisco, decided to call their results miriorama (policy statements, events and exhibitions, environments and works). In other words, the things that Gruppo T manufactured were called miriorama.

In 1960, at the showroom of Bruno Danese in Milan, Gruppo T exhibited a limited edition of 10 numbered and signed copies of miriorama objects: an “Abstract video” by Giovanni Anceschi, a “Giradischi ottico-magnetico” by Davide Boriani, a “Rotoplastik” by Gianni Colombo, a “Miramondo” by Gabriele Devecchi, a “Sferisterio semidoppio” by Grazia Varisco. Reviewed in the journal “Domus”, Bruno Munari observed: “A few months ago, at the Danese gallery in Milan, these young artists exhibited a series of new items produced in ten copies (even the idea of a one-off piece makes no sense any more)”.

Today, fifty years later, Alberto Alessi decided to complete this ideal project of “art for everyone”. While maintaining every characteristic of aesthetic satisfaction, the artwork is able to be circulated as an object of design among design objects.

- Art multiple in brass and aluminium

- Limited edition of 99 numbered copies and 9 artist's proofs.

- Øcm 11x5 - hcm 15

- request availability

Definitions u. but Umberto Eco/ Bruno Munari, 1962
Kinetic art Form of plastic art in which the movement of shapes, colors, and planes becomes the means by which a flexible, changable set of elements can be obtainied. The purpose of kinetic art is not, therefore, to attain a fixed and definitive composition.
Open work Form consisting of a “constellation” of elements so that the viewer can identify, with an “interpretive choice”, several possible connections, and therefore the various possibilities for different configurations, even to the point of actually intervening to change the relative position of elements .
Multiplied works Works designed by the artist to be produced in several copies taking advantage of industrial processes. Therefore, not an approximate reproduction from an original “oneoff piece”, as normally happens with art prints.
Programmed art Art can be programmed. A multitude of similar forms can stem from precise programming.

[from the catalogue of the exhibition Arte programmata,
Olivetti shop, Milan, May 1962]