Beschreibung:

Piero Manzoni Follow Achrome 1961 Newspaper, wax, sealing rope and lead on canvas. 40 x 60 cm. (15 3/4 x 23 5/8 in). Inscribed 'PIERO MANZONI' on a plaque lower right .
Provenance Manzoni Collection, Milan Exhibited Rome, Galleria Nazionale d’Arte Moderna, Piero Manzoni 1971; Crema, Museo Civico, Omaggio a Piero Manzoni 1971; New York, Sonnabend Gallery, Piero Manzoni 1972; London, Tate Gallery, Klein/Mazoni, 1974 Literature Germano Celant, Piero Manzoni Catalogo Generale, Milan, 1975, p. 225, no. 15 (illustrated); Freddy Battino & Luca Palazzoli, Piero Manzoni Catalogue Raisonné, Milan, 1991, p. 452, no. 1016 BM (illustrated) Catalogue Essay “At the beginning the Achrome is a simply white textured surface covered with rough gesso or impregnated with liquid kaolin. The Achrome is an empty space without lines or colours, devoid of any sign that might imply a meaning or a reminiscence of the artist’s work on the materials of art. The canvas, once imbued with liquid kaolin and glue, was left to dry. The raw material was transformed into a work of art by itself, throughout a self-sufficient process.While in Fontana’s and Pollock’s works the gesture of the artist participates to the corporeality of the artwork, Manzoni arrested and blocked the creative power of its own participation. The Achrome expresses itself as a pure signifier. Therefore the Achrome avoids the risk of repetition. It is not the work that is repetitive, but the gesture of the artist, who executes something already seen. The colorless surface is a ‘total space’, a tautological area repeatable to infinity, and infinitely unresolved.” (S.Capelli, Piero Manzoni’s Achromes taken from www.pieromanzoni.org)In this edition of Achrome Manzoni includes a small gift or package which can be translated into the wrapping of an idea, conceptual purity in the artists’ degree of manifestation, a newspaper sealed various times to re-enforce its contents which are left up to the viewer to speculate and mentally un-wrap. Read More