Three Dimensional – Piero Manzoni



New conditions and problems imply different methods and standards and the necessity of finding original solutions. One cannot leave the ground just by running and jumping: one needs wings. Changes are not sufficient; the transformations must be total.

This is why I do not understand painters who, whilst declaring themselves receptive to contemporary problems, still stand in front of a canvas as if it were a surface needing to be filled in with colours and forms, in a more or less personalized and conventional style. They draw a line, step back, stare complacently at their work with their head to one side, closing one eye. They approach it once again, draw another line, apply another stroke. This exercise continues until the canvas is covered: the painting is complete. A surface with limitless possibilities has been reduced to a sort of receptacle in which inauthentic colours, artificial expressions, press against each other. Why not empty the receptacle, liberate this surface? Why not try to make the limitless sense of total space, of a pure and absolute light, appear instead?

To suggest, to express, to represent: these are not problems today. I wrote about this some years ago; whether or not a painting is a representation of an object, of a fact, of an idea, or of a dynamic phenomenon, it is uniquely valuable in itself. It does not have to say anything, it only has to be. Two matched colours, or two tones of the same colour are already an alien element in the concept of a single, limitless, totally dynamic surface. Infinity is strictly monochromatic, or better still, colourless. Strictly speaking, does not a monochrome, in the absence of all rapport between colours, eventually become colourless?

The artistic problematic which has recourse to composition, to form, is deprived of all value; in total space, form, colour and dimensions have no sense. Here, the artist has achieved total freedom: pure matter is transformed into pure energy. Blue on blue or white on white to compose or to express oneself; both obstacles of space, and subjective reactions cease to exist; the entire artistic problematic is surpassed.

This is why I cannot understand artists of today who scrupulously fix the limits in which they place forms and colours, according to a rigorous balance. Why worry about the position of a line in space? Why determine this space? Why limit it? The composition of forms, their position in space, spatial depth, are all problems that do not concern us. A line can only be drawn, however long, to the infinite; beyond all problems of composition or of dimensions. There are no dimensions in total space.

Furthermore, the questions concerning colour, chromatic relations (even if this only involves nuances) are shown to be useless. We can only open out a single colour or present a continuous and uninterrupted surface (excluding all interference of the superfluous, all possibility of interpretation). It is not a question of painting the contrary of everything. My intention is to present a completely white surface (or better still, an absolutely colourless or neutral one) beyond all pictorial phenomena, all intervention alien to the sense of the surface. A white surface which is neither a polar landscape, nor an evocative or beautiful subject, nor even a sensation, a symbol or anything else: but a white surface which is nothing other than a colourless surface, or even a surface which quite simply ‘is’. Being (the total being which is pure Becoming).

This undefined surface, uniquely living, which in the material contingency of the work cannot be infinite, can on the other hand be multiplied to the infinite, without the solution of continuity.

This appears more clearly in the Lines; in this case, no doubt remains. The line develops in length uniquely, to the infinite. Its only dimension is time. It goes without saying that a line is neither a horizon nor a symbol and its value is not linked to the fact that it is more or less beautiful, but rather to the fact that it is a line, that it exists, like a work which counts for what it is and not for its beauty or for what it evokes. But in this case the surface only retains its value as a vehicle. The same is true of the Bodies of Air (pneumatic sculptures) that one can let down or fill at leisure (from nothingness to the infinite); they are absolutely undefined spheres, because all intervention destined to give them a form (even formlessness) is illegitimate and illogical.

There is no question of forming, articulating; one cannot have recourse to complicated, parascientific solutions, to graphic compositions, to ethnographic fantasies, etc. Each discipline possesses in itself elements of solution. Expression, imagination, abstraction, are they not in themselves empty inventions? There is nothing to explain: just be, and live.

 

Originally issued on 4 January 1960 at the Galerie Azimut, Milan.

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