Total space. Two installations by Piero Manzoni can be seen in New York – Mondo – Arte.it

World – In 1961, Piero Manzoni came up with two visionary installations. These were two compelling environments with natural size, developed in an era in which conceptualism and artistic installations started to look at the horizon of the art world.
Four years after the realization of the Achrome – works made of plaster on canvas, in which White had no allusive or symbolic value, but it was a colorless surface – Manzoni wrote to his friend Henk Peeters, Dutch artist of the Zero Group, who expressed the desire to give life to a work of the art of the furmans of which of which of the furmans, of which of the furmans, of which of the furmans, of which of which is of the furmans of which of two rooms, of which of the Furthes of the Rooms, of which of the Furs. -paint.
In 1963, aged just 29, Manzoni, however, disappeared and the hairy room and the phosphorescent room – these are the names that the two creations should have had – did not remain realized. In 2019, Rosalia Pasqualino di Marineo, director of the Piero Manzoni Foundation, provided the exhibition Piero Manzoni: Materials of his time At Hauser & Wirth Los Angeles. On that occasion, Hauser & Wirth and the Piero Manzoni Foundation commissioned the New York architect Stephanie Goto the realization of the two “rooms” that Manzoni had presented more than half a century earlier, but who had not been realized. They were then always exhibited in the exhibition in the same year Piero Manzoni: lines, materials of his time Presso Hauser & Wirth New York.
64 years after that idea of ​​the Italian art warehouse announces that he received as a gift, thanks to the generosity of the Piero Manzoni and Hauser & Wirth Foundation, the two compelling environments of a natural size, conceived by Manzoni in 1961. From 8 September to 23 March as part of the exhibition Piero Manzoni: Total spacePublished by Nicola Lucchi (director of the teaching and the Italian Art Warehouse Research Center), the two installations presents accompanied by a selection of works by the artist, on loan from American collections.
These two environments push the work of Manzoni in an unprecedented and surprising direction. On the one hand, they carry the logic of the Achrome, which leave the boundaries of the frame to expand in the three -dimensional and inhabited space that the viewer packs in a work that is physically experienced, on the other hand they connect with the ironic and conceptual vein of works such as the lines, the artist with the artist with the artist with the artist.

Piero Manzoni. Materials of his time, Set -Up, Hauser & Wirth Los Angeles, 2019 © Piero Manzoni Foundation, Milan | Courtesy Piero Manzoni Foundation, Milan and Hauser & Wirth | Photo: © Mario de Lopez

By extending the gesture of Thecherome to the space and the visitor, the hairy room and the phosphorescent room accompany the audience within two works, in an experience that includes the senses in a tactile, optical and epidermal way. If the futurists proposed in 1910 to “place the viewer in the middle of the painting”, the concept of Manzoni puts this intuition into practice and shapes an artistic experience that remains volatile and intangible, while it is activated in the body of the viewer. “Ondanks zijn korte carrière – legt Adam Sheffer uit, magazijnregisseur – Piero Manzoni was een van de Italiaanse artiesten, zo niet van de wereld, innovatiever, ironisch en onvermoeibaar inventief. We zijn er trots op het belangrijke geschenk te tonen van deze twee omgevingen samen met verschillende Achrome -werken, waarin Manzoni brak met de traditie van een kunst van een illustratie van een illustratie van een illustratie From an illustration of an illustration of an illustration of an illustration of an illustration of an illustration of an illustration of an illustration.

Under the Achrome, a large copy of 1958 will be shown, made with Caolino on Canvas, one of the techniques that Manzoni first allowed to pursue a radical reduction in the pictorial language, so that the material remains inert to create a neutral surface. With this tool, the artist avoids the valuable abstraction of formalistic matrix, but also the emotional excesses of the formal, starting with a more radical and at the same time silent criticism, to be refused and experimented by different materials and configurations.

“Piero Manzoni – explains the curator Nicola Lucchi – was an anticipator of many of the themes that would later become central to the artists of Povera Art: the radical experiments on materials, overcoming traditional forms of painting and sculpture, the idea of ​​work as a sometimes total experience, sometimes immaterial, sometimes sometimes.
Presenting this selection of visionary and subversive works in stock means improving their inheritance, in dialogue with our post -water Italian art collection “.

The exhibition housed by the Cold Spring Museum, founded by Nancy Olnick and Giorgio Spanu and inaugurated in 2017, reflects exactly on this reversal of every perspective and its consequences in Italian post -war art. With irony, Manzoni in fact anticipates much of the tensions that they will cross over the years to follow the bad art: the dematerialization of the object, the central center of the idea, the work as a critical act.