Index Code:

ART-RAS-MAN

Orgin:

Italy

Field Notes:

Sealed cans signatures on skin and pure white surfaces treat authorship as material

Defining Moment:

The Achromes and canned works where value is relocated from visible image to conceptual container

Piero Manzoni

(

1933–1963

)

pyer-o man-zo-nee

Manzoni built a world where the artwork questioned itself — surfaces purified, gestures inverted, authorship destabilized.

His objects turn provocation into structural clarity.

Structural Focus

Boundary as Event

Edges, margins, thresholds, or limits carry meaning. Structure concentrates where form nearly disappears.

In Piero Manzoni’s work, this approach appears where authorship is structurally tested.

Position

Boundary as Event

Edges, margins, thresholds, or limits carry meaning. Structure concentrates where form nearly disappears.

In Piero Manzoni’s work, this approach appears where authorship is structurally tested.

Constructed Surfaces

Surfaces are built through layering, joining, and controlled fabrication.

Systems of Clarity

Order and coherence arise through disciplined systems and constraints.

Material

Material behavior governs form through weight, resistance, and constraint.

Proportion

Proportion organizes coherence through measured intervals, scale, and relation.

Structure

Structure holds the work through rules, joins, and controlled relationships between parts.

Art

Form operates as a site for material, perceptual, and conceptual inquiry.

Conceptual Art

Language, instruction, and proposition function as the work itself.

Post-War Abstraction

Abstraction responds to rupture through scale, gesture, and structure.

Piero Manzoni

Structural Focus

Boundary as Event

Position

Boundary as Event

Observartory

In Dialogue

Piero Manzoni

Structural Focus

Boundary as Event

Position

Boundary as Event

Observartory

By Structural Focus

In Dialogue