- Piero Manzoni: When Bodies Became Art (2013)By Martin Engler
- Piero Manzoni: Catalogo generaleBy Germano Celant
- Achrome: Piero Manzoni (2016)By Choghakate Kazarian, Camille Lévêque-Claudet
- Manzoni, Piero: Paintings, Reliefs and ObjectsBy Piero Manzoni
- Piero Manzoni (2014)Our PickBy Fausto Gilberti
- Manzoni (2009)By Germano Celant
- Piero Manzoni. Vita d'artista (2013)Our PickBy Flaminio Gualdoni
Important Art by Piero Manzoni
Manzoni's work Achrome uses kaolin (a white clay) and canvas to create a ridged surface painting. The image was created without any direct sculpting from the artist, with its texture allowed to form naturally after the canvas was dipped in the wet clay. He described these works as "colorless paintings", or paintings containing empty space transformed by the raw materials. Manzoni began to work in this manner after being inspired by Yves Klein's monochrome works. Like Klein, his monochromes use one color to occupy and illustrate the space occupied by the work itself. Whilst the emptiness of the image might invite the viewer to project their own meaning on to it, for Manzoni it was the materiality of the image that was interesting and important. In this work he not only subverts the traditional techniques of paint as an artistic medium, but works towards his project of art that "disappears completely", a concept he referred to as a tautological (a repeating or logically inherent) self-sufficiency.
As art critic Germano Celant wrote, Manzoni aimed for images that, "are as absolute as possible, which cannot be valued for that which they record, explain and express, but only for what which they are: to be". As Celant's analysis refers to, these works are concerned with the potential of their material, and how such materials can cancel out visual space, rather than expressing emotion or recording the world. The implicitly anti-art stance behind the work, reminiscent of Manzoni's admiration of Dada and Duchamp's concepts of the readymade, are a direct reaction to the ideas of cancellation and subversion circling amongst avant-garde artists, and the Italian art market in which Manzoni was working at the time.
This work consists of a single unbroken line, printed using a newspaper press on a long strip of paper then coiled and inserted into a cardboard tube. The tube is labelled with the length of the line it contains. After their original display, the tubes were sold under the condition that they never be opened. A small label on the packaging of each work "guaranteed" the author, the date, and the exact length of the line inside. As the drawing itself can never be seen unless opened, it suggests that conceptually the line does not functionally exist other than in the mind of the viewer. By the work never being removed it completes the self-fulfilling tautology which Manzoni began working towards with his Achromes.
Art historian Tony Godfrey states that the series was "a truly immaterial and invisible work: if the seal was broken it ceased to be art". The word and intent of the artist are the only things that give Lines any meaning, and to go against his wishes and open the tube in order to confirm the line was contained within or was the length advertised would undo its status. This puts the emphasis on the performance involved in the making of these lines as the art, rather than the tube which is bought and sold. This was an important concept that would go on to be developed by Manzoni in later works, as well as being taken up and developed by Conceptual artists from the 1960s. Despite the artist's intent and stated wishes, several of these line pieces have since been exhibited unfurled alongside their tubes.
Here Manzoni, whilst addressing an audience at Galleria Azimut (which he co-owned with Enrico Castellani), marked hard-boiled eggs with his thumbprint, insisting that by doing so they became "art". He then ate one of the eggs before offering the rest to the public. Manzoni saw the consumption of the eggs as fulfilling his desire for the work to disappear. He also suggested that by eating the egg, the consumer becomes an artwork due to their contact with the artist's hand.
This work is primarily one of performance, which can be usefully examined through the lens of Relational Aesthetics as defined by Nicolas Bourriaud. As an artwork, the interaction between people is where the art lies, rather than in an object. In the case of The Consumption of Dynamic Art by the Art-Devouring Public, the emphasis is on the transfer of the symbol of the "art"' between the egg and the audience as the interaction. The eggs have widely been read as a placeholder for Manzoni's body by critics like Flaminio Gualdon, who writes that there is "a religious influence in his work, the body is always at the centre and its sacred. The objects must be consecrated as if the artist had some priestly power". This notion of an artist having "priestly power" was one of the key concepts Manzoni was interested in, with the touch of the artist consecrating seemingly mundane or otherwise throwaway objects with significance. His body plays a significant role in this work as it is the catalyst for the transference of "art". This work can also be read as reflecting the consumerism which dominated much of Italian society after WWII, as well as the Catholic notion of transubstantiation. In a society increasingly fuelled by mass production, Manzoni's artworks explored the value in an individual's (the artist's) touch.