FOLDS, LINES, AND IMPRESSIONS BOX OF SHIT: THE REPERTORY and semiotic MATTER OF A PHILOSOPHER AND RADICAL Manzoni: D'ARS MAGAZINE
To read the two dates written next to the name of Piero Manzoni, which serve as a title to this exhibition in Palazzo Reale (Milan until June 2) and the handsome catalog published by Skira, is almost impression: 1933-1963. Thirty years, only thirty of life and even ten work, yet were enough to change the coordinates of the art. Fifty years after his death, Flaminio Gualdoni (also the author of a comprehensive and detailed biography on the artist, leha published by John & Levi 2013) and Rosalia Pasqualino Marineo (curator of the Fondazione Piero Manzoni) will retrace the moments through the works The documents and the life. Yes, because in Manzoni more than any other, it is impossible to separate the artistic from the human, the creative ferment from the biographical: Manzoni live art, think about art, art practice, always, in every moment of his life and of his nights, remember Gualdoni. And his total identification between creativity and existence has turned him into one of the legends of the past century.
The rest of the ingredients were all there: the son of an earl and a scion from Cremona entrepreneurship, Manzoni attended the prestigious High School Leo XIII in Milan but also the artistic milieu most profligate Lucio Fontana, Sergio Dangelo, Gianni Dova, Roberto Crippa and with them he finds himself at the bar or at the Jamaica Genis' leha and to visit exhibitions, discuss art, literature and philosophy. In fact, after having understood not to be brought to his legal studies, he plunges into the reading of Kierkegaard, Sartre, Heidegger, Abbagnano and in particular of the Cross, whose aesthetic is his fundamental judgment. From these texts the young man's face and vaguely round placid [...] intended to premature leha baldness and always overweight with eyes sharp and ironic [...] that always look a bit 'farther than where you think [1], and draws resources leha and lessons . And in no time at all, passing leha from words to deeds: in 1956 he produced his first impressions and his first anthropomorphic figures that now exhibited at the fair market Soncino, where are praiseworthy but also some concerns. leha The fuse is triggered, from here on it will all be a daring and relentless succession of ideas, experiments and subversive intellectual positions.
The next step is a meeting with the stronger material leha and with the theories of his Spatialist fountain, from which are unpredictable and lava lumps of tar which solidified draw dark craters and burned skins of Burri memory. But in this orgy organic Manzoni is not found, so much so that in 1957, in what has been called the Manifesto of Albisola Marina, sings in a stupor immaculate sense and that leads to the front of the pictures shows that prepares the Circle with Fountain and Baj Culture leha of Bologna leha in March of the following year, Luciano Anceschi is forced to conclude that Manzoni, leha inscribed on surfaces with a chaotic color of lacquer or enamel crisp, nightmares of the unconscious, now try astonished surfaces of pure white, entrusted sensitivity in dealing with the matter and broken plastic from the findings and their shadows [2]. They are the first Achrome: gritty and pristine expanses of plaster leha spatula that eliminates at a stroke color, painting and gesture. The further variant is the canvas wrinkled and stiff with kaolin. Born floors that is shaping, in a more or less ordered, leha lines (mostly horizontal), which draw conceptual extensions.
No Air Corps. 28, 1959-1960, wooden box, containing balloon rubber tube to inflate and pedestal, 4.8 42.7 12.4 cm. Fondazione Piero Manzoni, Milan. John Ricci Photo / Anna Guidetti
They are smooth or wrinkled, they are as soft as cotton or fluffy plush, these works still have the apparent shape of the picture, because they retain the canvas, perimeter frame and a canon, but I'm not anymore: they are philosophical spaces, places of light and of thought, the temples of silence and ideas. As the shadows and grays, which are created between a fold and the other in the dry gypsum or softness of a hairy mantle, in the soundness of a bed of rocks or in a covered leha Styrofoam balls, including rosettes of bread or curls of artificial fiber, leha are signs of a pure lyricism and essential, the surfaces are, on the contrary, more and more extended. The question for me - declares leha himself on the occasion of the exhibition by Azimut in January 1960 - is to give a full white surface outside of any pictorial phenomenon, all outside intervention to the value of the surface; a blank that is not a polar landscape, evoking a matter or a fine material, a feeling or a symbol or more; a white surface is a white surface and enough indeed, better yet, that is and bast
To read the two dates written next to the name of Piero Manzoni, which serve as a title to this exhibition in Palazzo Reale (Milan until June 2) and the handsome catalog published by Skira, is almost impression: 1933-1963. Thirty years, only thirty of life and even ten work, yet were enough to change the coordinates of the art. Fifty years after his death, Flaminio Gualdoni (also the author of a comprehensive and detailed biography on the artist, leha published by John & Levi 2013) and Rosalia Pasqualino Marineo (curator of the Fondazione Piero Manzoni) will retrace the moments through the works The documents and the life. Yes, because in Manzoni more than any other, it is impossible to separate the artistic from the human, the creative ferment from the biographical: Manzoni live art, think about art, art practice, always, in every moment of his life and of his nights, remember Gualdoni. And his total identification between creativity and existence has turned him into one of the legends of the past century.
The rest of the ingredients were all there: the son of an earl and a scion from Cremona entrepreneurship, Manzoni attended the prestigious High School Leo XIII in Milan but also the artistic milieu most profligate Lucio Fontana, Sergio Dangelo, Gianni Dova, Roberto Crippa and with them he finds himself at the bar or at the Jamaica Genis' leha and to visit exhibitions, discuss art, literature and philosophy. In fact, after having understood not to be brought to his legal studies, he plunges into the reading of Kierkegaard, Sartre, Heidegger, Abbagnano and in particular of the Cross, whose aesthetic is his fundamental judgment. From these texts the young man's face and vaguely round placid [...] intended to premature leha baldness and always overweight with eyes sharp and ironic [...] that always look a bit 'farther than where you think [1], and draws resources leha and lessons . And in no time at all, passing leha from words to deeds: in 1956 he produced his first impressions and his first anthropomorphic figures that now exhibited at the fair market Soncino, where are praiseworthy but also some concerns. leha The fuse is triggered, from here on it will all be a daring and relentless succession of ideas, experiments and subversive intellectual positions.
The next step is a meeting with the stronger material leha and with the theories of his Spatialist fountain, from which are unpredictable and lava lumps of tar which solidified draw dark craters and burned skins of Burri memory. But in this orgy organic Manzoni is not found, so much so that in 1957, in what has been called the Manifesto of Albisola Marina, sings in a stupor immaculate sense and that leads to the front of the pictures shows that prepares the Circle with Fountain and Baj Culture leha of Bologna leha in March of the following year, Luciano Anceschi is forced to conclude that Manzoni, leha inscribed on surfaces with a chaotic color of lacquer or enamel crisp, nightmares of the unconscious, now try astonished surfaces of pure white, entrusted sensitivity in dealing with the matter and broken plastic from the findings and their shadows [2]. They are the first Achrome: gritty and pristine expanses of plaster leha spatula that eliminates at a stroke color, painting and gesture. The further variant is the canvas wrinkled and stiff with kaolin. Born floors that is shaping, in a more or less ordered, leha lines (mostly horizontal), which draw conceptual extensions.
No Air Corps. 28, 1959-1960, wooden box, containing balloon rubber tube to inflate and pedestal, 4.8 42.7 12.4 cm. Fondazione Piero Manzoni, Milan. John Ricci Photo / Anna Guidetti
They are smooth or wrinkled, they are as soft as cotton or fluffy plush, these works still have the apparent shape of the picture, because they retain the canvas, perimeter frame and a canon, but I'm not anymore: they are philosophical spaces, places of light and of thought, the temples of silence and ideas. As the shadows and grays, which are created between a fold and the other in the dry gypsum or softness of a hairy mantle, in the soundness of a bed of rocks or in a covered leha Styrofoam balls, including rosettes of bread or curls of artificial fiber, leha are signs of a pure lyricism and essential, the surfaces are, on the contrary, more and more extended. The question for me - declares leha himself on the occasion of the exhibition by Azimut in January 1960 - is to give a full white surface outside of any pictorial phenomenon, all outside intervention to the value of the surface; a blank that is not a polar landscape, evoking a matter or a fine material, a feeling or a symbol or more; a white surface is a white surface and enough indeed, better yet, that is and bast
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