Piero Manzoni

“'More about Piero Manzoni', on website Heart”

“Tate: Summary of Piero Manzoni 'Artist's Shit' 1961”

“online resource for biography and his art works”

“Manzoni understood the creative act as part of the cycle of consumption: as a constant reprocessing, packaging, marketing, consuming, reprocessing, packaging, ad infinitum.”

“Manzoni's critical and metaphorical reification of the artist's body, its processes and products, pointed the way towards an understanding of the persona of the artist and the product of the artist's body as a consumable object. The 'Merda d'artista' (the artist's shit, dried naturally and canned 'with no added preservatives'), was the perfect metaphor for the bodied and disembodied nature of artistic labour: the work of art as fully incorporated raw material, and its violent expulsion as commodity.”

“You [Dutch Zero-artist, Henk Peeters] take the North of Europe, I'll take the South. Switzerland will be our neutral zone where we shall have our common exhibition. (Manzoni's reaction when Henk Peeters accused him of plagiary]”

“You [=Yves Klein ] are the 'monochrome bleu' and I am the 'monochrome blanc'; we should start to cooperate together, we two. [Manzoni's remark, during their first meeting]”

“I would like to draw a white line covering the complete Greenwich meridian.”

“Why not to set free these forms? Why not trying to uncover the infinite meaning of absolute space, the meaning of pure and absolute light? [Manzoni is referring to the colourless, but still matter-made art paintings, made by Zero artists, around 1950-60]”

“Abstractions and references must be totally avoided. In our freedom of invention we must succeed in constructing a world that can be measured only in its own terms. We absolutely cannot consider the picture as a space onto which to project our mental scenography. It is the area of freedom in which we search for the discovery of our first images. Images which are absolute as possible, which cannot be valued for that which they record, explain and express, but only for that which they are to be.”

“There comes a point where individual mythology and universal mythology are identical. In this context it is clear that there can be no concern with symbolism and description, memories, misty impressions, of childhood, pictoricism, sentimentalism: all this must be absolutely excluded. So must every hedonistic repetition of arguments that have already been exhausted, since the man who continues to trifle with myths that have already been discovered is an aesthete, and worse.”

“So it is obvious that at first glance there would seem to be a paradox: the more we immerse ourselves in ourselves, the more open we become, since the closer we get to the germ of our totality the closer we are to the germ of totality of all men. We can therefore say that subjective invention is the only means of discovering objective reality, the only means that gives us the possibility of communication between men”

“To arrive at such a discovery, fruit of a log and precious education, involves a whole field of precise technique. The artist must immerse himself in his own anxiety, dredging up everything that is alien, imposed or personal in the derogatory sense, in order to arrive at the authentic zone of values.”

“The key point today is to establish the universal validity of individual mythology.. .The artistic moment is therefore that in which the discovery of pre-conscious universal myths comes about, and in the reduction of these into the form of images. It is clear that if the artist is to be able to bring to light zones of myth that are authentic and virginal he must have both an extreme degree of self-awareness and the gifts of iron precision and logic.”

“The foundations of the universal value of art are given to us now by psychology. This is the common base that enables us to sink its roots to the origins before man and to discover the primary myths of humanity. The artist must confront these myths and reduce them, by means of amorphous and confused materials, to clear images. Since these are atavistic forces that have their origins in the subconscious, the work of art takes on a magical significance.”

“Where the artist is concerned it is a question of the conscious immersion in himself, through which, once he has got beyond the individual and contingent level, he can probe deep down to reach the living germs of total humanity. Everything that is humanly communicable is derived from this, and it is through the discovery of the psychic substrata that all men have in common that the relationship of author-work-spectator is made possible. In this way the work of art has the totemic value of living myth, without symbolic or descriptive dispersion: it is a primary and direct expression.”

“The work of art has its origin in an unconscious impulse that springs from collective substrata of universal values common to all men, from which all men draw their gestures, and from which the artist derives the 'archaic' of organic existence. Every man of his own accord extracts the human element from this base, without realizing it, and in an elementary and immediate way.”

“I sell an idea, an idea in a can.”

“I should like all artists to sell their fingerprints, or else stage competitions to see who can draw the longest line or sell their shit in tins. The fingerprint is the only sign of the personality that can be accepted: if collectors want something intimate, really personal to the artist, there's the artist's own shit, that is really his.”

“When I blow up a balloon, I am breathing my soul into an object that becomes eternal. [Manzoni's quote of 1960, referring to his art-work 'Artist's Breath']”