The essay outlines a profile of the visual production of Marco Silombria (1936–2014). Drawing on his professional background as an advertising graphic designer, Silombria also helped develop the editorial design of FUORI! (from 1976 to 1982) and, for a few issues, Lambda, the two leading publications of the Italian homosexual liberation movement. In both he used pop culture and irony as tools for incisive social critique. The essay also briefly describes other notable works from Silombria’s rich and versatile creative output across various media, from drawing to painting and ceramics. It analyses his shift, in the last decade of the century, towards a progressive post-ideological disengagement from cultural signs.
Il saggio delinea un profilo della produzione visiva di Marco Silombria (1936-2014). Forte di un’esperienza professionale come grafico pubblicitario, Silombria contribuì anche a sviluppare la grafica editoriale delle riviste «FUORI!» (dal 1976 al 1982) e, per alcuni numeri, «Lambda», i due principali organi del movimento di liberazione omosessuale italiano. In entrambe usò la cultura pop e l’ironia come strumenti per una pungente critica sociale. Il saggio, inoltre, descrive brevemente altri lavori salienti della ricca e versatile attività creativa di Silombria in vari media, dal disegno alla pittura e alla ceramica, analizzando il passaggio verso un progressivo disimpegno post-ideologico dei segni culturali nell’ultimo decennio del secolo.
Marco Silombria, dalla comunicazione grafica al “vuoto comunicazionale”/ Marco Silombria, from Graphic Communication to “Communicational Void”
Cortesini
2026-01-01
Abstract
The essay outlines a profile of the visual production of Marco Silombria (1936–2014). Drawing on his professional background as an advertising graphic designer, Silombria also helped develop the editorial design of FUORI! (from 1976 to 1982) and, for a few issues, Lambda, the two leading publications of the Italian homosexual liberation movement. In both he used pop culture and irony as tools for incisive social critique. The essay also briefly describes other notable works from Silombria’s rich and versatile creative output across various media, from drawing to painting and ceramics. It analyses his shift, in the last decade of the century, towards a progressive post-ideological disengagement from cultural signs.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.


