03 late 50’s, early 60’s in europe
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Piero Manzoni, Yves Klein
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03 late 50’s, early 60’s in europe
- 1. Late 50’s, early 60’s In Europe Nouveau Realisme (France) Arte Povera (Italy)
- 2. • Yves Klein (1928-1962), The Leap Into the Void, 1962 • Nouveau Realisme (France)
- 3. • The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void), 1958
- 4. • Sardine can invitation to Arman’s “full-up” exhibit (right after the Void show)
- 5. • Nouveau Realiste Manifesto, 1960
- 6. • Yves Klein, IKB 191, 1962
- 9. Untitled Anthropometry (ANT 100),
- 10. •Yves Klein, Mondo Cane Shroud, 1962
- 11. Clip from “Mondo Cane” – Yves Klein at work
- 12. • R: Mondo Cane Shroud, 1962 • L: Tray of IKB for models
- 15. • Victory of Samothrace, 1962
- 16. DESTROY THE PICTURE (recent exhibition of Arte Povera & Nouveau Realisme)
- 17. Jean Tinguely, 1960, Homage to NY
- 18. • Jean Tinguely, Homage to NY, 1960
- 19. • Homage remnant in MoMA’s permanent collection
- 20. • Found and ready- made objects • Time-limited art • Kinetic (moving) sculpture • Self-destruction • Technology • Conceptual art
- 21. • Wreckage of Homage, 1960
- 23. • Artist’s Breath, 1960 (in current state)
- 24. •Manzoni, Line M11, 1959 Line 4.90m, December 1959
- 25. • The Consumption of art by the art devouring public, July 1960
- 26. • Piero Manzoni, Artist’s Shit, 1961
- 27. • Piero Manzoni, Living Sculptures, 1960
Notas del editor
- Existentialism is a philosophical movement which claims that individual human beings create the meanings of their own lives. It is a reaction against more traditional philosophies, such as rationalism and empiricism, which sought to discover an ultimate order in metaphysical principles or in the structure of the observed world, and therefore universal meaning. The movement had its origins in the 19th century thought of Kierkegaard and Nietzsche was prevalent in Continental philosophy. In the 1940s and 1950s, French philosophers such as Jean-Paul Sartre and Simone de Beauvoir wrote scholarly and fictional works that helped to popularize themes associated with existentialism, including "dread, boredom, alienation, the absurd, freedom, commitment, [and] nothingness". There is a famous altered photograph called "Leap into the Void" of Klein jumping off an old house in a suburb of Paris. In explaining this photograph Klein said that the reason for his action was "In order to paint space, I owe it to myself to go there, to that very space." The moment of weightlessness that Klein experienced was of very short duration and of course an instant after the photo was taken he landed on the ground. Nonetheless, it expressed his interest in air, levitation, and immateriality.
- The Void Le Vide displayed at the Galerie Iris Clert For his next exhibition at Iris Clert's Gallery, (April 1958), Klein chose to show nothing whatsoever; called La spécialisation de la sensibilité à l’état matière première en sensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void), he removed everything in the gallery space except a large cabinet, painted every surface white, and then staged an elaborate entrance procedure for the opening night; The gallery's window was painted blue, and a blue curtain was hung in the entrance lobby, accompanied by republican guards and blue cocktails. Thanks to an enormous publicity drive, 3000 people were forced to queue up, waiting to be let in to an empty room. The cocktails caused people to urinate blue the next days. "Recently my work with color has led me, in spite of myself, to search little by little, with some assistance (from the observer, from the translator), for the realization of matter, and I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my next Parisian exhibition at Iris Clert's.“ Among audience in attendance was Albert Camus.
- New Realism (in French: Nouveau Réalisme) refers to an artistic movement founded in 1960 by the art critic Pierre Restany and the paintor Yves Klein during the first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in April 1960. Proclaiming "New Realism New Perceptive Approaches of the Real," this joint declaration was signed on October 27, 1960, in Yves Klein's workshop, by nine people: Yves Klein, Arman, Francois Dufrêne, Raymond Hains, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, then Niki de Saint Phalle and Gérard Deschamps. The artist Christo joined the group in 1963. A “poetic recycling of urban, industrial and advertising reality” a return to "reality," in opposition with the lyricism of abstract painting, but avoiding the traps of figurative art, connotated either as petty-bourgeois or as stalinist. The New Realism movement has often been compared to the Pop Art movement in New York for their use and critique of mass-produced commercial objects (Villeglé's ripped cinema posters, Arman's collections of detritus and trash), although New Realism maintained closer ties with Dada than with Pop Art.
- Alongside works by Andy Warhol and Willem De Kooning, Yves Klein's painting RE 46 (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000. Previously, his painting RE I (1958) had sold for $6,716,000 at Christie's New York in November 2000 He explored themes of spirituality and immateriality on a highly conceptual level. An example of this is a series of works done in 1959 which questioned the economic value of the artist's work. In these works, he sold a number of pieces of immaterial space for different prices, although the works appeared to be identical. The collector of each work was then required to burn the receipt for the work and throw half of the gold payment for the work in the Seine. If the collector wanted to resell the work at some future time, it had to be priced at twice the initial purchase price, although, of course, there was now no proof of ownership. This seemingly absurd series of acts involving an immaterial work which was actually beyond possession, not only questioned the nature of art, but also the transactions that underpin the workings of the art world. In many respects, these works anticipated the development of Conceptual Art in the late 1960's
- Monochrome abstraction—the use of one color over an entire canvas—has been a strategy adopted by many painters wishing to challenge expectations of what an image can and should represent. Klein likened monochrome painting to an "open window to freedom." He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.
- Yves Klein: “Yves le monochrome” Yves Klein, an artist and judo master, was born in Nice, France in 1928 and died from a heart attack at the age of 34 in 1962, in Paris, where he made his career. During his short life, he became one of the leaders of European Pop Art, which is known as "Nouveau Realisme", and his work has had a lasting influence on both Minimal and Conceptual artists. Klein's body of work was extremely diverse and included monochrome paintings done in several colors; particularly the blue paintings painted in Klein's signature color, International Klein Blue (IKB); the anthropometries, which were imprints taken directly from the human body; fire paintings, which were made with a flame-thrower; sponge sculptures, which were often painted with IKB; portrait sculptures of his friends and fellow artists, cast from life; proposals for architectural projects; and photographs. In 1960, Klein began a series of paintings called the "Anthropometries", by using nude female models as paint brushes. Covering their bodies with IKB, Klein would then have the models press there bodies against a painting surface, which of course would leave a blue impression of the female form. These were first done in the studio, but later became a form of Klein achieved black-belt stature in Judo and taught and wrote a book about the subject after spending fifteen months at the Kodokan Institute in Tokyo. He then went on to found his own Judo school in Paris, making a living teaching Judo from 1955 to 1959. He also played music in a jazz band.
- A judo master who had traveled to Japan in 1951 : During the summer, he made contacts in Japan, and, with help from his aunt, sailed for Yokohama, where he arrived on September 23. Shortly afterwards he moved to Tokyo, and, on October 9, registered at the Kodokan Institute, the country’s most prestigious judo center. He spent fifteen months in Japan, dividing his time between the Institute and the French lessons which he gave to American and Japanese students. During his stay, he wrote a book on judo in the hope of importing the mindset and techniques of the Japanese Katas into Europe. In 1953, Yves canceled his affiliation with the Rosicrucian Society in Oceanside. The music played for twenty minutes as the models painted each other from the buckets of IKB Blue paint - gently pressing each other against the paper that had been placed on one wall of the gallery. Mr. Klein wearing white gloves, never touched the paint - or the models. When the symphony stopped, it was followed by a strict twenty minutes of silence - a time in which everyone in the room willingly froze themselves in their own private meditational space. On several occasions, Klein created an anthropometry painting before an audience gathered at a gallery. While an orchestra played the artist's one chord "Monotone Symphony," Klein, dressed in a tuxedo and white gloves, directed models smeared with IKB to lie, twist, drag, sit, or roll on canvas or paper until the desired effects had been realized.Believing that these performances demonstrated a new way of creating art, Klein aimed at aesthetic distance by avoiding the psychological dimension of the artist's touch: In this way I stayed clean. I no longer dirtied myself with color, not even the tips of my fingers. The work finished itself there in front of me, under my direction, in absolute collaboration with the model. And I could salute its birth into the tangible world in a dignified manner, dressed in a tuxedo...By this demonstration, or rather technique, I especially wanted to tear down the temple veil of the studio. I wanted to keep nothing of my process hidden. Untitled Anthropometry (ANT 100), featuring an alignment of five figures, is notable because Klein used his own body to create three of the prints, and the body of his future wife, the artist Rotraut Ueker, to create the other two. His own participation indicates that, in contrast to his official statement above, Klein did not always remain at a distance from the art-making process. Representing a double portrait of the artist and his wife, the work bears comparison to more traditional images of couples, from Adam and Eve to the marriage portraits of Rembrandt and Rubens.
- Created as part of a documentary called Mondo Cane, which included scenes of foie gras production, chicks being dyed for easter, bulls being decapitated, etc.
- Believing that these performances demonstrated a new way of creating art, Klein aimed at aesthetic distance by avoiding the psychological dimension of the artist's touch: In this way I stayed clean. I no longer dirtied myself with color, not even the tips of my fingers. The work finished itself there in front of me, under my direction, in absolute collaboration with the model. And I could salute its birth into the tangible world in a dignified manner, dressed in a tuxedo...By this demonstration, or rather technique, I especially wanted to tear down the temple veil of the studio. I wanted to keep nothing of my process hidden.
- He explored themes of spirituality and immateriality on a highly conceptual level. An example of this is a series of works done in 1959 which questioned the economic value of the artist's work. In these works, he sold a number of pieces of immaterial space for different prices, although the works appeared to be identical. The collector of each work was then required to burn the receipt for the work and throw half of the gold payment for the work in the Seine. If the collector wanted to resell the work at some future time, it had to be priced at twice the initial purchase price, although, of course, there was now no proof of ownership. This seemingly absurd series of acts involving an immaterial work which was actually beyond possession, not only questioned the nature of art, but also the transactions that underpin the workings of the art world. In many respects, these works anticipated the development of Conceptual Art in the late 1960's
- Tinguely is swiss born French Noveau Realist w/Yves Klein. Jean Tinguely (22 May 1925 in Fribourg, Switzerland – 30 August 1991 in Bern) was a Swiss painter and sculptor. Jean Tinguely was asked in 1960 to produce a work to be performed in the Sculpture Garden of the Museum of Modern Art in New York. In collaboration with other artists/engineers, among them Billy Klüver and Robert Rauschenberg, he produced a self-destroying mechanism that performed for 27 minutes during a public performance for invited guests. In the end, the public browsed the remnants of the machine for souvenirs to take home. Tinguely pushed the usual boundaries of art and technology by playing with the life and death of the machine. In this historic performance of mechanical disintegration, the deliberate failure of the machine reveals one of its most compelling uses: its ability to waste (or erase) itself. Experiments in Art and Technology (E.A.T.) had its nascent beginnings with a collaboration between one of its founders, engineer Billy Klüver, and artist Jean Tinguely. "The Garden Party," an essay written two days after the MOMA event, Klüver gave a minute-by-minute description of the machine's self-destructive performance. Recounting the chain of aesthetic disasters that were triggered during the 30-minute escapade, Klüver suggested that machines that fail to function according to plan are a source of humor and poetry. Machines that exceed function and control correspond with the unpredictability and provocation of a city such as New York The self-destruction or self-elimination of the machine is the ideal of good machine behavior." late 1950s he produced the Meta-matic painting machines (e.g. Meta-matic No. 17, 1959; Stockholm, Mod. Mus.). These were portable machines with drawing arms that allowed the spectator to produce abstract works of work automatically. They were first exhibited at the Galerie Iris Clert in Paris in 1959; not all of the Meta-matics functioned properly, and Tinguely destroyed some of them. He then began to incorporate electric motors into his works, taking as his models the ‘roto-reliefs' created by Marcel Duchamp
- From the Time Magazine article, March 28 1960: A machine that destroys itself," was the billing, and it proved irresistible to Manhattan's earnest pursuers of the avantgarde. Last week some 250 of them braved cold and slush to watch as Switzerland's Jean Tinguely fiddled and fussed with his 27-ft.-high tangle of white-painted iron in the garden of the Museum of Modern Art. An hour and a half later, the suicide-fated machine started flaming and sawing at its mixed-up insides, turned balky despite several judiciously aimed kicks from its creator, got doused betimes by an anxious fireman, and had to be finished off with an ax. Tinguely had spent three weeks preparing his gizmo, which he called Homage to New York. "New York is a phallic city," he explained, adding that he could not possibly have conceived of a suicidal sculpture anywhere else. His materials included a meteorological trial balloon, many bottles (to break), an upright piano, a gocart, a bathtub, hammers and saws, 80 bicycle wheels and sundry other items, picked for the most part from New Jersey dumps. the New York Times's Critic John Canaday gently put it: "Mr. Tinguely makes fools of machines while the rest of mankind permits machines to make fools of them. Tinguely's machine wasn't quite good enough, as a machine, to make his point."
- Indeed, Tinguely referred to his own projects as "meta-mecanique," machines that essentially comment on their own operation. "This exhibition is dedicated to the mechanical machine, the great creator and destroyer, at a difficult moment in its life when, for the first time, its reign is threatened by other tools." Those "other tools" are of course information and electronic machines—including the computer—that were replacing and controlling the more archaic mechanical machines. Writing at the same time, Jack Burnham similarly suggested that "we are now entering a second age of machines," in which "the new machines are information-processing systems subsequent work of E.A.T., which employed devices at once mechanical and informational, material and process-based. Residue is a product of the machine in its endless oscillation, the fallout from both its productive output and destructive terminus.
- Arte Povera: The artists would use any medium they could get for free or very, very cheap. Sticks, rocks, slate, rope and iron were common materials in the artist's artworks. The term "Poor Art" is not an attack on the artists, but rather a reference that any poor man or woman could get involved. The movement was particularly influential during the early 1970s in countries with large Italian migrant populations, such as Australia Artist's Breath Contemporaneously with the Bodies of Air, Manzoni produced the Artist's Breaths (Fiato d'Artista), a series of red, white or blue balloons, inflated and attached to a wooden base inscribed "Piero Manzoni- Artist's Breath". The works continued Manzoni's obsession with the limits of physicality, whilst parodying the Art World's obsession with permanence, and also provided a poignant Memento Mori.
- In his "canning" lines (prior to producing Merda d'artista), Manzoni brilliantly mixed art, commodity, and concept. Made between 1959 and 1961, each work consists of a single ink line of varying length drawn on paper, which is rolled up like a scroll and stuffed into cylindrical tubes or drums. Since the line cannot be seen, only imagined, Manzoni catapults this fundamental component of art into the realm of thought and idea. His Linea di lunghezza infinita (Line of Infinite Length), produced in an edition of nineteen in 1960 (fig. 5), exemplifies this imaginary and conceptual status, again calling into question his procedures while suggesting his wizardry. Although some Lines have been displayed unfurled ("only for demonstration purposes," said the artist), Manzoni insisted that "the cylinders that contain them remain perfectly closed, because opening them makes them [the lines] disappear."(16) "I put the line in a container so that people can buy the idea of the "Line." I sell an idea, an idea closed in a container."(17) Like the price of his Merda d'artista based on weight indexed to the value of gold, and that of his Fiato d'artista (Artist's Breath), based on the quantity of air the artist expelled into a balloon (see fig. 9), the cost of the lines increased with their length: art sold by the meter.
- Gallery Azimuth He founded the Gallery Azimuth, Milan, in 1959 with the artist Enrico Castellani, and preceded to put on a series of revolutionary exhibitions of multiples. The first, 12 Linee (12 Lines) took place in December 1959, quickly followed by Corpi d'Aria (Bodies of Air) in May 1960.[7] This was an edition of 45 balloons on tripods that could be blown up by the buyer, or the artist himself, depending on the price paid. In July 1960 he exhibited Consumption of Art by the Art-Devouring Public, in which he hard-boiled eggs, printed his thumprint onto them, and then handed them out to the audience to eat. This was the last exhibition by Manzoni at Azimuth, after which the gallery was forced to close when the lease ran out. On July 21, 1960, took place in Milan one of the more famous Manzoni's manifestations: the Consumption of dynamic art by the art-devouring public (Consumazione dell'arte dinamica del pubblico divorare l'arte). Manzoni marked with his fingerprint some boiled eggs and gave them to the audience to eat. The "art devouring" project discloses a new trend in art, shifting her role from production to consumption. The spectator is involved in the artistic activity and turned himself into a work of art. "It is not our business to educate; nor is it our business to pass a message".
- An ironic reference to the willingness of the art market to buy everything on condition that it is signed. Everything touched by the artist is changed into a work of art. An ordinary everyday object like an egg becomes a precious relic if Manzoni authenticates it. The most radical gesture of Piero Manzoni - the ninety cans of Artist's shit sold at the then-current price of gold - shows the power of the creative act to regenerate into art also bodily secretions. An ironic reference to the willingness of the art market to buy everything on condition that it is signed.
- April 1961, in Rome, in a manifestation at the Galleria La Tartaruga, Piero Manzoni began to sign people (nude models or visitors) changing them into works of art. Manzoni's Living Sculptures ("Sculture viventi") were completed by a declaration of authenticity. A red stamp certified that the subject was a whole work of art for life.A yellow stamp limited the artistic status to a body part, while a green one meant that the individual signed was a work of art under certain circumstances (i.e. only while sleeping or running).Finally a purple stamp stuck on the receipt of authenticity meant that the service was paid for.