10.05.07 | 24.09.07

Senza titolo [Untitled] 1957 Frog pond 1957 untitled 1957 Achrome 1960 - 1961 Achrome 1958 - 1959 Merda d'artista [Artist's Shit] 1961 Achrome 1958 - 1959 Achrome 1959 Achrome 1961 - 1962 Achrome 1961 - 1962 Achrome 1962 Achrome 1962 Achrome 1958 Achrome 1962 Achrome 1958 - 1959 Achrome 1958 - 1959 Achrome 1962 le cose 1956 Untitled 1956 Untitled 1956 Achrome 1958 - 1959 Achrome 1957 - 1958 Achrome 1958 Achrome 1958 - 1959 Achrome 1961 - 1962 Achrome 1960 Achrome 1959 - 1960 Untitled 1957 8 tavole di accertamento 1958 - 1960 sculpure egg 1960 sculpture egg 1960 Linea 15,81 1959   Tavole d'accertamento Gorgonia 1961 Achrome 1959 - 1960 Achrome 1958 - 1959 Achrome 1958 - 1959 Achrome 1961 - 1962 white rotor 1958 Corpo d’aria n.28 1959 - 1960 Fiato d'artista 1960 Achrome 1962 Achrome 1958 - 1959 Achrome 1961 - 1962 magic base - living sculpture 1961 Uova scultura 1960 Achrome 1957 - 1958 Achrome 1961 Merda d’artista (n.63) 1961 Magisk Sokkel Nr. 2 1961 Achrome 1960 Achrome 1958 Achrome 1959 - 1960 Achrome 1961 Achrome 1958 Achrome 1958 - 1959 line mt 1140 1961 Linea di lunghezza infinita 1960 Achrome 1961 Achrome 1962 Linea m 7200 1960 Achome 1957 - 1958 Achrome 1957 - 1958 Achrome 1958 - 1959 Achrome 1961 Achrome 1961 - 1962 Achrome 1962 Achrome 1962 Achrome 1961 Achrome 1958 - 1959 Achrome 1959 Achrome 1962 Achrome 1960 - 1961 Achrome 1959 Achrome 1958 - 1959 Achrome 1961 Achrome 1962 Achrome 1962 Magisk Sockkel nr 2 (base magica) 1961 Placentarium (project) 1960 Achrome 1961 Achrome 1958 - 1959 Achrome 1961 - 1962 Achrome 1962 Achrome 1958 - 1959

Piero Manzoni

Achrome

1961 - 1962

Courtesy :

From 1960 Manzoni began an intense period of experimentation with materials, both natural and artificial, such as phosphorescent pigments, cobalt chloride, polystyrene, felt, fiberglass, cotton wool, rabbit skins and straw. At the same time he completely zeroed the process of transforming the materials, by identifying them with a powerful creative potential and image. Rather as Marcel Duchamp had done, by extracting aesthetic entities from the objet trouvé or John Cage in recognizing the music value of every sound derived from real life, including silence. In these experiments he even went so far as to give a truth value of their own to his three-dimensional Achromes, which in some cases suggest a certain analogy with the sculptures of Günther Uecker. However Manzoni differs from Uecker by his absolute refusal to charge the work with symbolic values. This incursion into the third dimension led to an exploration of the space/surface relationship which Manzoni shared not only with Enrico Castellani and Agostino Bonalumi, but also with Rome-based artists such as Francesco Lo Savio, who was working in the same years on the relationship between space, light and surface, and Giuseppe Uncini with his architecture-pictures made of reinforced concrete. Despite this, the Achromes substantially remained faithful to their original relationship with the wall, representing over the years an in-depth reflection on the idea of “the picture”, reality and the expressive possibilities of painting, as confirmed by Manzoni’s retention of the mat and frame.

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1960

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1962

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1961

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1960 - 1961

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1961

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1962

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1961

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1961

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1962

Soncino (Bs) 1933 | Milano 1963
Manzoni was born in Soncino, in the province of Cremona, on July 13th 1933, of counts Meroni Manzoni di Chiosca and Poggiolo. He studied in Milan at the Leone XIII classical ...
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