《无色素》皮耶罗·曼佐尼(Piero Manzoni)高清作品欣赏

皮耶罗·曼佐尼(Piero Manzoni)高清作品《无色素》

作品名：无色素

艺术家：皮耶罗·曼佐尼

年代：1959

风格：空间主义

类型：抽象

曼佐尼·阿克洛姆斯既是对卢西奥·丰塔纳、阿尔贝托·布里的自命不凡的物质作品、伊夫·克莱因单色的非物质性和神秘主义的空间主义探索的回应，也是对它们的延伸，曼佐尼·阿克洛姆斯是自定义艺术作品，它们只主张它们自己的表面。其他所有细节、技巧和风格都被消除了。曼佐尼被弗洛伊德和荣格的精神分析著作极大地启发，描述为“图腾”，他的阿克洛姆斯基本上是非图片——明显是真实的物质呈现，只表达了它们自己的形式和物质属性。在这部作品中，他们最终，也无法挽回地打破了虚幻的概念空间，直到这个点一直围绕着画平面。同时，它们是艺术品，开始作为真实、非美学概念在观众的真实物理空间和周围的世界中运作。因此，作为艺术与生活融合过程的开始，《阿克洛姆》标志着艺术对象概念的终结，在这方面，它代表了丰塔纳的空间主义美学和“意象”所体现的反物质倾向的终结。克莱因作品中的“三位一体”。超越这些早期的先例，阿克洛姆斯作品界定了曼佐尼所认为的最终“区域”的自由和最终的艺术从风格解放。“我们绝对不能把这幅画看作是投射心理透视图的空间”曼佐尼坚持说。它是自由的竞技场，我们在其中寻找我们的第一张照片的发现。那些尽可能绝对的图像，它们不能因为记录、解释或表达的东西而有价值，而只能因为它们本来的样子而有价值。1957）

Title:Achrome

artist:Piero Manzoni

Date:1959

Style:Spatialism

Genre:abstract

Both a response to and an extension of the Spatialist explorations of Lucio Fontana, Alberto Burri's self-asserting material works and the immateriality and mysticism of Yves Klein's monochromes, Manzoni Achromes were self-defining works of art that asserted only their own surfaces - surfaces from which all other extraneous detail, artifice and style had been eliminated. Described by Manzoni, who was greatly inspired by the psychoanalytical writings of Freud and Jung at this time, as 'totems', his Achromes were essentially non-pictures - demonstrably real material presences that articulated only their own formal and material properties. In this, they were works that finally, and irreparably, broke down the illusive and conceptual space that up until this point had always traditionally surrounded the picture plane. At the same time, they were works of art that began to operate as real, unaesthetic concepts within the real, physical space of the viewer and the world around them. Marking the beginning of a process of integration between art and life, the Achrome was therefore, a work that signaled the end of the idea of the art-object, and in this respect, represented the culmination of the anti-material tendency embodied in Fontana's Spatialist aesthetic and also the 'immateriality' of Klein's work. Going beyond these earlier precedents, the Achromes were works that defined what Manzoni saw as an ultimate 'zone' of freedom and the final liberation of art from style. 'We absolutely cannot consider the picture as a space onto which to project our mental scenography' Manzoni insisted. 'It is the arena of freedom in which we search for the discovery of our first images. Images which are as absolute as possible, which cannot be valued for that which they record, explain or express, but only for that which they are.' (Piero Manzoni, For the Discovery of a Zone of Images. 1957.)