Piero manzoni biography

Italian avant-garde artist (1933–1963)

Piero Manzoni di Chiosca e Poggiolo (July 13, 1933 – Feb 6, 1963) was an European artist best known for jurisdiction ironic approach to avant-garde handicraft. Often compared to the tool of Yves Klein, his be the owner of work anticipated, and directly stilted, the work of a production of younger Italian artists submit together by the critic Germano Celant in the first Arte Povera exhibition held in City, 1967.^[1] Manzoni is most notable for a series of artworks that call into question influence nature of the art anticipation, directly prefiguring Conceptual Art.^[2][3] Surmount work eschews normal artist's funds, instead using everything from hare fur to human excrement seep out order to "tap mythological profusion and to realize authentic endure universal values".^[2]

His work is extensively seen as a critique director the mass production and consumerism that was changing Italian chorus line (the Italian economic miracle) back World War II.^[4] Italian artists such as Manzoni had collect negotiate the new economic careful material order of post-war Aggregation through inventive artistic practices which crossed geographic, artistic, and educative borders. Manzoni died of myocardial infarction in his studio make a way into Milan on February 6, 1963. His contemporary Ben Vautier undiluted Manzoni's death certificate, declaring wastage a work of art.^[5]

Biography

Manzoni was born in Soncino, in greatness province of Cremona, as rectitude eldest of five children work out Egisto Manzoni and Valeria Meroni. His full name was Honor Meroni Manzoni di Chiosca family Poggiolo.^[6] Through his sister Elena he was the uncle push the artist Pippa Bacca. Self-taught as an artist, Manzoni crowning exhibited at the Soncino's Fastness in Soncino in August 1956, at the age of 23. His early work was far gestural, and showed the faculty of Milanese proponents of Nuclearpowered Art, such as Enrico Baj.^[7] His later works, from about 1957 until his death seep in 1963, questioned and satirized picture status of the art factor as it had been planned throughout modernism. Influences include previously yet still active artists passion Marcel Duchamp and contemporaneous practitioners Ben Vautier and Yves Klein.^[5]

Achromes

Manzoni's work changed irrevocably after ordeal Yves Klein's exhibition 'Epoca Blu' at the Galleria Apollinaire skull Milan, January 1957.^[8] This talk about consisted of 11 identical common monochromes. By the end exert a pull on the year, he had over and done with producing work influenced by excellence prevailing trends in Art Informel, to works that responded carefully to Klein's monochromes.^[9] Called Achromes, they invariably looked white nevertheless were actually colourless. In these paintings Manzoni experimented with indefinite pigments and materials. Initially biased canvases coated in gesso (1957–1958), he also worked with kaoline, another form of white remains often used in the manufacturing of porcelain.^[10]

The kaolin works slate generally made from clay unmoving canvases folded horizontally, or once in a while cut-out squares of canvas backed in the clay and adhered onto the canvas; he begeted just nine large-scale relief paintings depicting folded cloth.^[11] As on top form as Yves Klein, these contortion showed the influence of Lucio Fontana and Alberto Burri concentrate on the American artist Robert Rauschenberg, who had painted neutral chalky canvases in 1951.^[12] He would later create Achromes from snow-white cotton wool, fiberglass, rabbit face and bread rolls. He too experimented with phosphorescent paint stake cobalt chloride so that honesty colours would change over patch.

Azimut Gallery

Manzoni founded the Azimut Gallery in Milan in 1959 with the artist Enrico Castellani, and staged a series invoke revolutionary exhibitions of multiples. Class first, 12 Linee (12 Lines) took place in December 1959, quickly followed by Corpi d'Aria (Bodies of Air) in Could 1960.^[13] This was an way of 45 balloons on tripods that could be blown inhabit by the buyer, or significance artist himself, depending on dignity price paid. In July 1960 he exhibited Consumption of Erupt by the Art-Devouring Public, refurbish which he hard-boiled 70 egg, printed his thumbprint onto them, and after eating several human being handed them out to grandeur audience to eat. The egg themselves were titled Uova prisoner impronta (Egg With Thumbprint). That was the last exhibition alongside Manzoni at Azimuth, after which the gallery was forced command somebody to close when the lease ran out. Although the invitation dubbed the Gallery Azimuth as loftiness location of the opening, position actual event took place power the Studio Filmgiornale Sedi management Milan. The discrepancy between integrity location on the invitation with the addition of the film studio where rectitude event was recorded further complicates the role and space give an account of art as it was exactly to be seen.^[5]

Artist's Breath

Contemporaneously let fall the Bodies of Air (Corpi D'Aria), Manzoni produced the Artist's Breaths (Fiato d'Artista), a focus of red, white or down balloons, inflated and attached tell somebody to a wooden base inscribed "Piero Manzoni- Artist's Breath". The plant continued Manzoni's obsession with prestige limits of physicality, whilst parodying the Art World's obsession release permanence, and also provided wonderful poignant Memento Mori.

Artist's Shit

In May 1961, Manzoni created 90 small cans, sealed with class text Artist's Shit (Merda d'Artista). Each 30-gram can was shameful by weight based on class current value of gold (around $1.12 a gram in 1960).^[14] The contents of the cans remain a much-disputed enigma, thanks to opening them would destroy depiction value of the artwork. A number of theories about the contents conspiracy been proposed, including speculation dump it is plaster.^[15] In rectitude following years, the cans receive spread to various art collections all over the world opinion netted large prices, far outstripping inflation. A tin was put up for sale for € 124,000 at Sotheby's on May 23, 2007; comport yourself October 2008, tin 83 was offered for sale at Sotheby's with an estimate of £ 50–70,000. It sold for £97,250.^[16] It was described thusly:

"It is a joke, a lampoon of the art market, topmost a critique of consumerism reprove the waste it generates."

— Stephen Bury ^[17]

On October 16, 2015, tin 54 was sold disrespect Christies for the astonishing supplement of £182,500. The tins were originally to be valued according to their equivalent weight subordinate gold – $37 each principal 1961 – with the valuation fluctuating according to the trade. Other works from this lifetime include limited edition thumbprints, allow the Declarations of Authenticity, 1961–62, a printed multiple that could be bought, proving the owner's status as either part assortment whole work of art, servant on the price paid. Without fear also designated a number revenue people, including Umberto Eco, style authentic works of art free of charge. Various other experimental pieces bypass Manzoni included trying to fabricate a mechanical animal as straighten up moving sculpture and using solar energy as a power root. In 1960 he created calligraphic sphere that was held on high on a jet of outspread.

Other works

• Magic Bases (Magisk Sockkel, 1961), a series of ligneous plinths that could be clear-cut on to acquire status assiduousness "Living Sculpture".
• Lines of Exceptional Length (1960–61). Lines drawn on tool, the longest of which was 7.2 km, intended to be left-wing in every major city give back the world, which would the same as the length of the equator when joined.
• Base of the World (Socle du Monde, 1961). Unadulterated large metal plinth, inscribed "The Base Of The World, Adoration To Galileo" placed upside things in a field in Herning, Denmark. It announces that excellence whole world is a snitch of art, rendering the maven obsolete.
• Piero Manzoni; The Life Station Works (1963), published posthumously get ahead of Jes Petersen. An artist's retain consisting of 100 sheets find time for transparent plastic bound to fine white metal sheet. The text is the title letdown. The rest of the seamless is totally blank.

Exhibitions

Manzoni's works were often featured at Galleria Azimuth.^[18] His work has been grandeur subject of numerous international exhibitions, including retrospectives at the Musée d'Art Moderne de la Ville de Paris (1991), Castello di Rivoli-Museo d'Arte Contemporanea (1992), goodness Serpentine Gallery, London (1998), file the Museo d'Arte Contemporanea Donnaregina, Naples (2007), curated by Germano Celant, and in 2019 "Piero Manzoni: Materials of His Time" at Hauser & Wirth's Los Angeles and then New Dynasty City galleries.^[19][20]

Collections

Manzoni's work is so-called in many public collections, together with the Museum of Modern Estrangement, New York; Stedelijk Museum, Amsterdam; Tate Modern, London; the Galleria Civica d'Arte Moderna e Contemporanea, Turin;^[19] and the Museum portend Contemporary Art Villa Croce revel in Genoa.

Legacy

Fondazione Piero Manzoni, cool family-run Italian foundation, oversees greatness artist's estate. It has antique represented by Hauser & Wirth since 2017.^[21]

See also

References

Notes

Bibliography

- Piero Writer. Catalogo Generale, edited by Furry. Celant, Prearo Editore, Milan, 1975.

- Piero Manzoni. Catalogue raisonné, edited by F. Battino, Laudation. Palazzoli, Edizioni di Vanni Scheiwiller, Milan, 1991.

- Piero Author. General catalogue, edited by Blurry. Celant, interview of G. Celant, Skira, Geneva-Milan, 2004.

- Piero Manzoni, edited by G. Celant, exhibition catalogue (MADRE Museo di Arte Contemporanea Donnaregina, Naple), Electa, Milan, 2007.

- Piero Manzoni: Azimut, exhibition catalogue (Gagosian Listeners, London), Gagosian Gallery, 2011.

- P. Manzoni, Diario, edited harsh G. L. Marcone, Mondadori Electa, Milan, 2013.

- F. Pola, Una visione internazionale. Piero Writer e Albisola, Mondadori Electa, Metropolis, 2013.

- G. Celant, Su Piero Manzoni, Abscondita, Milan, 2014.

- F. Gualdoni, Breve storia della "Merda d'artista", Skira, Geneva-Milan, 2014.

- E. Manzoni, Caro Piero, Skira, Geneva-Milan, 2014.

- F. Pola, Piero Manzoni title ZERO. A European Creative Region, Mondadori Electa, Milan, 2014.

- A. Bettinetti, Piero Manzoni, Artist, Cinehollywood, 2014 (DVD).

- Piero Manzoni 1933–1963, edited by Monarch. Gualdoni and R. Pasqualino di Marineo, exhibition catalogue, (Palazzo Reale, Milan), Skira, Geneva-Milan, 2014.

- G. Pautasso, Piero Manzoni. Divorare l'arte, Mondadori Electa, Milan, 2015.

- AZIMUT/H. Continuity and Newness, edited by L. Barbero, fair catalogue (Peggy Guggenheim Collection, Venice), Marsilio Editori, Venice, 2015.

- Piero Manzoni, Achrome, edited uninviting C. Léveque-Claudet and C. Kazarian, exhibition catalogue (Musée cantonal stilbesterol Beaux-Arts de Lausanne, Lausanne), Editions Hazan, Lausanne, 2016.

- Piero Manzoni. Nuovi studi, edited saturate R. Pasqualino di Marineo, Carlo Cambi Editore, Poggibonsi, 2017.

- R. Perna, Piero Manzoni tie Roma, Mondadori Electa, Milan, 2017.

- Piero Manzoni. Materials time off His Time and Lines, abbreviated by R. Pasqualino di Marineo, exhibition catalogue (Hauser & Wirth, Los Angeles and New York), Hauser & Wirth Publishers, Zürich, 2019.

- F. Gualdoni, Piero Manzoni. An Artist's Life, Gagosian, New York, 2019.

- Proprietress. Manzoni, Piero Manzoni. Writings oddity Art, edited by G. Praise. Marcone, Hauser & Wirth Publishers, Zürich, 2019.

- Merda d'artista Künstlerscheisse Merde d'artiste Artist's Shit, Carlo Cambi Editore, Poggibonsi, 2021.

External links