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domingo, 28 de agosto de 2016

Works by Piero Manzoni on view at Musée cantonal des Beaux-Arts. --- Obras de Piero Manzoni em exibição no Musée Cantonal des Beaux-Arts. --- Works by Piero Manzoni on view at the Musée cantonal des Beaux-Arts.

LAUSANNE.- The Musée cantonal des Beaux-Arts de Lausanne is presenting the first museum exhibition in Switzerland of the work of Piero Manzoni (1933–1963). Centred on the Achromes – the white monochromes the artist worked on during his brief career (1957– 1963) – the exhibition comprises 70 outstanding works ranging from the famous wrinkled canvases to the final polystyrene pieces, not to mention his few sculptures and works on paper. 




A major figure on the art scene of the 1950s–1960s, Manzoni enjoys the same status as Lucio Fontana and Yves Klein as one of the most innovative artists of the time. Like them he experimented with monochrome, but took the concept further by opting for the a-chromatic: the very absence of colour. 

Driven by a determination to free the work of art from the painterly tradition and from the action-painting approach that dominated postwar Informal art and Lyrical Abstraction, he opted for minimal types of intervention (folding, coating, sewing) that gave rise to simple forms (pleats, lines, grids), and for natural and synthetic white materials including wrinkled canvas soaked in white clay solution, cotton wool, synthetic fur, bread rolls and polystyrene pellets. Leaving these materials free to react in their own specific ways, he transformed the picture into a space of infinite possibilities. 

The exhibition comprises some 70 Achromes in separate series. This presentation allows us to retrace the evolution of the concept of achromia and illustrates the development and recurrence of the systems used to underscore the possibilities of each material. 

Plaster 

In 1956 Manzoni was already imagining the work of art as an «authentic, pristine zone» stripped of all «useless gestures». The results were canvases coated with raw plaster – rough, incised surfaces – and first shown in March–April 1958 at the Galleria del Circolo di Cultura in Bologna. The artist applied a minimal composition principle, most often in the form of a line dividing the canvas into two unequal areas. 

Wrinkled canvas and kaolin 

In 1958, Manzoni began what would be, quantitatively, his largest series: the Achromes made of wrinkled canvas coated with a mix of glue and kaolin, a naturally very white clay used in the production of porcelain. This series in relief was the first suggestion of an ambiguous status for the Achromes, between painting and sculpture. 

Squared canvas and kaolin 

Far from a straightforward tabula rasa, Manzoni’s achromia was fertile ground that he began cultivating in 1959 in a new series of Achromes made of ragged squared canvas soaked in a mix of kaolin and glue and laid out in a precise, repetitive sequence, on another canvas. This grid allowed the artist to introduce the notion of infinity, not as a metaphysical concept but rather as a physical principle of modular repetition. Nonetheless, the works’ strict geometry is tempered by the organic nature of the kaolin. 

Sewn canvas/Paper 

In 1959–1960, Manzoni embarked on a fresh series of Achromes using a sewing machine. In a radical adaptation of the non-colour principle, each canvas was crisscrossed with stitching that formed a grid, with some areas flat and others raised. Manzoni also drew on the naturally achromatic character of paper, applying the organisational principles already used for his canvas Achromes: horizontal pleats running across the middle, and juxtaposition of squares. 

Sculpture 

In 1960–1961 the painting/sculpture ambiguity already present in the wrinkled canvas Achromes was pushed still further in a number of explicitly three-dimensional works. Manzoni created numerous «object»-related works, but only a very few were titled Achromes. Of different types and shapes, they are characterised by the same white colouration: most of them are coated with kaolin, which puts them in the achromatic category and excludes them from the status of readymades. 

Cotton wool 

The use of cotton wool for a new group of Achromes in 1960–1961 marked the beginning of experiments in which Manzoni gave up working in two dimensions. Here he returns to the grid principle applied in the previous series, but with a manufactured product – squares or balls of cotton wool – arranged edge to edge. Soft and unstable, this material is ill adapted to the strict geometry of the grid, and disrupts its rigidity and contours. 

Bread rolls 

Several works dating from around 1962 are made from typically Milanese bread rolls. By coating them with kaolin, which solidifies them and gives them a sculptural, achromatic quality, Manzoni strips them of any readymade character. In this series he resorts once more to the grid, whose geometry is violated by the bread’s organic nature, lumpy surface and irregular shape. 

Cobalt chloride/Phosphorescent varnish 

Around 1960, Manzoni began exploring the notion of achromia as chromatic indeterminacy. In one instance he played on the chromatic instability of cobalt chloride, whose colour varies from pink to blue according to the ambient humidity and temperature. The Achromes made of expanded polystyrene and coated with a phosphorescent varnish that emits light in darkness, proceed from the same dialectical relationship with their environment. They give expression to Manzoni’s quest for a living, autonomous artwork existing independently of any intervention by the artist. 

Synthetic fibres 

During a stay in Denmark in the autumn of 1961 Manzoni experimented with synthetic fibres like polyester and nylon at the Angli shirt factory in Herning. Some of these fibres play on organic/synthetic ambiguity: when short they resemble fur, in an ambiguity that is all the more striking in that at the same time Manzoni made a sculpture out of real rabbit skin. Coated with an antistatic product, long fibres float like “clouds”: here the Achrome no longer has definite contours and comes to look like an organic object. 

Package 

Made around 1962, this doubly mysterious series is made of unknown objects covered with wrapping paper or newspaper, and tied up and sealed like postage parcels. We can identify two kinds of packages, however: soft ones, doubtless containing cotton wool, and hard, more angular ones, probably with cardboard boxes inside. The two different types come in pairs, in a play on the contrast between opposites. Although he at first reserved the term “achrome” for his white pictures, Manzoni broadens its scope here, applying it to multicoloured works midway between painting and sculpture and far removed from his initial monochromes. 

Pebbles/Polystyrene pellets 

In 1962, Manzoni abandoned the grid surfaces he had mainly worked with in favour of an all-over spread of kaolin-coated pebbles or polystyrene pellets. This saturation of the picture refers back to some of the early Achromes for which he used a more or less uniform spreading of plaster.






Fonte: @edisonmariotti #edisonmariotti

http://artdaily.com/news/89775/Works-by-Piero-Manzoni-on-view-at-Mus-e-cantonal-des-Beaux-Arts-#.V8DraE0rLcs

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura e o amor devem estar juntos.

Vamos compartilhar.









--br via tradutor do google
Obras de Piero Manzoni em exibição no Musée Cantonal des Beaux-Arts. ---

LAUSANNE.- O Cantonal Museum of Fine Arts, em Lausanne apresenta a primeira exposição do museu na Suíça da obra de Piero Manzoni (1933-1963). Centrada no Achromes - o branco monocromático sobre o artista trabalhou Durante sua breve carreira (1957- 1963) - a exposição incluiu 70 obras notáveis ​​que vão desde as famosas telas enrugadas para as partes finais de poliestireno, para não mencionar POUCOS Suas esculturas e obras sobre papel .

A figura principal, o szene arte das décadas de 1950 e 1960, Manzoni goza do estatuto Sami como Lucio Fontana e Yves Klein como um dos artistas mais inovadores do tempo. Como eles, experimentou com objetivo monocromático tomou o conceito further optando pela a-cromática: a própria falta de cor.

Impulsionada por uma determinação para libertar a obra de arte da tradição pictórica e da abordagem de ação pintura que dominou a arte informal pós-guerra e abstracção lírico, ele optou por tipos mínimos de intervenção (dobradura, revestimento, corte e costura) Isso deu origem a formas mais simples (plissados, linhas, redes), e para materiais naturais e sintéticos, incluindo tela enrugada branco embebida em solução argila branca, algodão, peles sintéticas, pãezinhos e pelotas de poliestireno. Deixando materiais tese livres para reagir de maneiras específicas conta própria, a imagem que ele transformado em um espaço de possibilidades infinitas.

A exposição incluiu 70 Algumas Achromes em série separado. Esta apresentação nos permite retraça a evolução do conceito de acromia e ilustra o desenvolvimento ea recorrência dos sistemas utilizados para sublinhar as possibilidades de cada material.

gesso

Em 1956 Manzoni já estava imaginando a obra de arte como um "autêntico, área intocada", despojado de todos os "gestos inúteis." Os resultados foram telas revestidas com gesso cru - áspero, incisão superfícies - e exibido pela primeira vez em março-abril 1958, a Galleria del Circolo di Cultura em Bolonha. O artista tem princípio composição Aplicada mínimo, a maioria é muitas vezes sob a forma de uma linha dividindo a tela em duas áreas desiguais.

lona enrugada e caulino

Em 1958 Manzoni começou o que seria, quantitativamente, Sua série maior: o Achromes feito de lona enrugada revestidos com uma mistura de cola e caulim, uma argila naturalmente muito branco usado na fabricação de porcelana. Esta série no alívio foi a primeira sugestão de um estatuto ambíguo para o Achromes, pintura between e escultura.

canvas quadrado e caulim

Longe de uma tabula rasa simples, acromia de Manzoni era um terreno fértil Que ele começou a cultivar em 1959, em uma nova série de Achromes feito de lona quadrado irregular embebido em uma mistura de caulim e cola e colocado para fora em uma seqüência precisa, repetitivo, um Comentários outra tela . Esta grelha permitiu ao artista a introduzir o conceito de infinito, não como um conceito bastante propósito metafísico como um princípio físico da repetição modular. No entanto, a geometria rigorosa dos trabalhos é temperada pelo tipo do caulim orgânica.

lona costurada / Papel

Em 1959-1960, Manzoni iniciou nova série de Achromes usando uma máquina de costura. Em uma adaptação radical dos conteúdos princípio da não-cor, cada tela com costura Isso foi atravessada formaram uma grade, com algumas áreas planas e outros levantadas. Manzoni aussi atraiu naturalmente sobre o caráter acromática de papel, aplicando os princípios já utilizados para organizacionais Seus Achromes lona: pregas horizontais que atravessam o meio, e justaposição de praças.

escultura

Em 1960-1961 a pintura / escultura ambigüidade já presente na tela enrugada Achromes foi empurrado ainda mais superior em um número de obras explicitamente tridimensionais. Numerosos Manzoni criou obras "objeto" artigo relacionado, destinados apenas a muito poucos estavam intitulado Achromes. De diferentes tipos e formas, eles são caractérisé la même pela coloração branca: a maioria deles são revestidos de caulim, qui coloca-los na categoria acromática e exclui em do estatuto de readymades.

Estofo

O uso de algodão para um novo grupo de Achromes em 1960-1961 marcou o início de experimentos em qui Manzoni desistiu de trabalhar em duas dimensões. Aqui, ele retorna ao princípio da grade Aplicado na série anterior, com um produto objetivo Fabricados - quadrados ou bolas de algodão - dispostas ponta a ponta. Macio e instável, este material está doente adapté à geometria rigorosa do grid, e interrompe a rigidez TIC e contornos.

pãezinhos

Várias obras que datam por volta de 1962 são feitos de pães Normalmente Milanese. Por revestimento com em caulim, em qui solidificou e dá-lhes uma qualidade escultural acromática, tiras Manzoni deles Qualquer personagem readymade. Nesta série, ele mais uma vez recorre à grade, cuja geometria é violada pela natureza orgânica área de forma irregular e irregular do pão.

cloreto de cobalto / verniz fosforescente

Por volta de 1960, Manzoni começou a explorar a noção de indeterminação acromia como cromática. Em um exemplo, ele jogou na instabilidade cromática de cloreto de cobalto, cuja cor varia do rosa ao azul selon a umidade do ambiente e da temperatura. O Achromes feito de poliestireno expandido e revestida com um verniz fosforescente que emite luz na escuridão, proceder a partir da relação dialética Sami com seu ambiente. Eles dão voz à busca de Manzoni para ganhar a vida, obra autónoma da existente indépendamment Qualquer ação pelo artista.

fibras sintéticas

Durante uma estada na Dinamarca, no Outono de 1961 Manzoni experimentou com fibras sintéticas como poliéster e nylon na fábrica de camisas Angli em Herning. Algumas dessas fibras jogo são ambiguidade orgânica / sintética: quando calções Eles se assemelha a pele, em uma ambiguidade que é ainda mais surpreendente pelo fait que le même tempo Manzoni fez uma escultura de pele de coelho real. Revestido com um produto anti-estática, fibras longas flutuar como "nuvens": aqui, o achrome junto não tem contornos definidos e chega a parecer um objeto orgânico.

pacote

Feito por volta de 1962, esta série duplamente misterioso é feita de objetos desconhecidos cobertos com papel de embrulho ou jornal, e amarrados e selados como postar encomendas. Podemos identificar dois tipos de pacotes, porém: macios, sem dúvida Contendo o algodão, e os duros, mais angulares, provavelmente com caixas de papelão no interior. Os dois tipos diferentes vêm em pares, em um jogo de opostos contraste entre. Embora ele em primeiro lugar reservado o termo "achromatic" Para Seus quadros brancos, Manzoni amplia itos escopo aqui, obras multicoloridas aplicando-a a meio caminho Entre pintura e escultura e distante de sua monocromático originais.

Seixos / pelotas de poliestireno

Em 1962, Manzoni abandonou as superfícies grade Principalmente Ele tinha trabalhado com em favor de um all-over propagação de seixos revestido de caulino ou pelotas de poliestireno. Esta saturação da imagem remete para Avaliações alguns dos primeiros Achromes para qui ele usou um uniforme mais ou menos propagação de gesso.












--in via tradutor do google
Works by Piero Manzoni on view at the Musée cantonal des Beaux-Arts. 


LAUSANNE.- The Cantonal Museum of Fine Arts in Lausanne is presenting the first museum exhibition in Switzerland of the work of Piero Manzoni (1933-1963). Centred on the Achromes - the monochrome white on the artist Worked During His brief career (1957- 1963) - the exhibition included 70 outstanding works ranging from the famous wrinkled canvases to the final polystyrene parts, not to mention FEW His sculptures and works on paper .

A major figure, the art szene of the 1950s-1960s, Manzoni enjoys the Sami status as Lucio Fontana and Yves Klein as One of the Most Innovative Artists of the time. Like them he Experimented with monochrome goal Took The concept further Top by opting for the a-chromatic: the very lack of color.

Driven by a determination to free the work of art from the painterly tradition and from the action painting approach That Dominated postwar Informal art and Lyrical Abstraction, he opted for minimal kinds of intervention (folding, coating, sewing) That gave rise to simpler forms (pleats, lines, grids), and for natural and synthetic materials Including wrinkled white canvas soaked in white clay solution, cotton wool, synthetic fur, bread rolls and polystyrene pellets. Leaving thesis materials free to react in specific ways Their Own, the picture he Transformed into a space of infinite possibilities.

The exhibition included 70 Some Achromes in separate series. This presentation allows us to retraces the Evolution of the concept of achromia and illustrates the development and recurrence of the systems used to underscore the possibilities of Each material.

Plaster

In 1956 Manzoni Was already imagining the work of art as an "authentic, pristine area," stripped of all "useless gestures." The results Were canvases coated with raw plaster - rough, incised surfaces - and first shown in March-April 1958 at the Galleria del Circolo di Cultura in Bologna. The artist has minimal Applied composition principle, most is Often in the form of a line dividing the canvas into two Unequal areas.

Wrinkled canvas and kaolin

In 1958 Manzoni Began What Would be, quantitatively, His Largest series: the Achromes made of wrinkled canvas coated with a mix of glue and kaolin, a naturally very white clay used in the manufacture of porcelain. This series in the relief Was the first suggestion of an ambiguous status for the Achromes, entre painting and sculpture.

Squared canvas and kaolin

Far from a straightforward tabula rasa, Manzoni's achromia Was fertile ground That he Began Cultivating in 1959 in a new series of Achromes made of ragged squared canvas soaked in a mix of kaolin and glue and laid out in a precise, repetitive sequence, one Reviews another canvas . This grid allowed the artist to Introduce the concept of infinity, not as a metaphysical concept Rather purpose as a physical principle of modular repetition. Nonetheless, the works' strict geometry is tempered by the kind of the organic kaolin.

Sewn canvas / Paper

In 1959-1960, Manzoni has embarked on fresh series of Achromes using a sewing machine. In a radical adaptation of the non-color principle contents, each canvas with stitching That Was crisscrossed FORMED a grid, With Some areas flat and others raised. Manzoni aussi drew naturally on the achromatic character of paper, Applying the principles already used for Organisational His canvas Achromes: horizontal pleats running across the middle, and juxtaposition of squares.

Sculpture

In 1960-1961 the painting / sculpture ambiguity already present in the wrinkled canvas Achromes Was Pushed still further Top in a number of Explicitly three-dimensional works. Numerous Manzoni created "object" works related article, intended only a very FEW Were titled Achromes. Of different kinds and shapes, They Are caractérisé la même by white colouration: most of 'em are coated with kaolin, qui puts' em in the achromatic category and excludes em from the status of readymades.

Cotton wool

The use of cotton wool for a new group of Achromes in 1960-1961 marked The Beginning of experiments in qui Manzoni gave up working in two dimensions. Here he returns to the grid principle Applied in the previous series, with a goal Manufactured product - squares or balls of cotton wool - Arranged edge to edge. Soft and unstable, this material is ill adapté to the strict geometry of the grid, and disrupts ict rigidity and contours.

Bread rolls

Several works dating from around 1962 are made from Typically Milanese bread rolls. By coating with kaolin em, em qui solidified and Gives Them a sculptural quality achromatic, Manzoni strips of Them Any readymade character. In this series he once more resorts to the grid, Whose geometry is violated by the bread's organic nature area lumpy and irregular shape.

Cobalt chloride / Phosphorescent varnish

Around 1960, Manzoni Began exploring the notion of indeterminacy achromia as chromatic. In one instance he played on the chromatic instability of cobalt chloride, Whose color varies from pink to blue selon the ambient humidity and temperature. The Achromes made of expanded polystyrene and coated with a phosphorescent varnish That EMITS light in darkness, proceed from the dialectical relationship Sami With Their Environment. They give speech to Manzoni's quest for a living, autonomous artwork of Existing indépendamment Any action by the artist.

Synthetic fibers

During a stay in Denmark in the autumn of 1961 Manzoni Experimented with synthetic fibers like polyester and nylon at the Angli shirt factory in Herning. Some of These play fibers are organic / synthetic ambiguity: when shorts They resembles fur, in an ambiguity That is all the more striking at fait que le même time Manzoni made a sculpture out of real rabbit skin. Coated with an antistatic product, long fibers float like "clouds": here the Achrome along HAS no definite contours and comes to look like an organic object.

package

Made around 1962, this doubly mysterious series is made of unknown objects covered with wrapping paper or newspaper, and tied up and sealed like posting parcels. We Can Identify two kinds of packages, HOWEVER: soft ones, Doubtless Containing cotton wool, and hard, more angular ones, probably with cardboard boxes inside. The two different kinds come in pairs, in a play on the contrast entre opposites. ALTHOUGH he at first reserved the term "achromatic" For His white pictures, Manzoni broadens scope icts here, multicolored works Applying it to midway entre painting and sculpture and far removed from His original monochrome.

Pebbles / Polystyrene pellets

In 1962 Manzoni abandoned the grid surfaces Mainly He Had Worked with in favor of an all-over spread of kaolin-coated pebbles or polystyrene pellets. This saturation of the picture Refers back to Reviews some of the early Achromes for qui he used a more or less uniform spreading of plaster.

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