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would later use balloons in a similar way, but filled with helium rather than suspended in a stream of compressed air. Indeed, his first balloon, made in 1965, corresponded to an unfulfilled project described by
Manzoni in a letter as ‘a cluster of pneumatic cylinders, elongated in shape, like steel,
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Manzoni simultaneously planned a series of public sculptures, of balloons 2.5 m diameter, to be installed in parks. These were to be fitted with air compressor to slowly pulsate ‘with a slow unsynchronized rhythm of breathing.’ He never took this idea further than a small experimental version.
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By making a purely transient work, that would deflate before the buyer's eyes, Manzoni was parodying the traditional sculptural emphasis on permanence and mocking the traditional emphasis on the artist's creative force. He was also using modern materials to suggest an aggressively modern aesthetic
118:, but also referred to the building housing a giant maze, made up of 60 cells controlled by "an electric brain". Equipped with 73 alcoves for viewers, the Placentarium was intended to be silver on the outside and white internally. Designs and a photograph of a small architectural model survive.
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were first exhibited at the
Galleria Azimut, run by Manzoni and his friend, the Italian artist Enrico Castellani, from May 3 to May 9, 1960. Manzoni organised an elaborate photo shoot and a short film to publicise the event. He was to write later in the year that the bodies had sold well.
94:), involving red, blue or white balloons inflated by Manzoni himself, closed with string and lead, with the name "Piero Manzoni" punched into it, then attached to a wooden base with a plaque on it using
98:. The pieces were made in 1960, and 11 examples are known to have survived, although all are now in an extreme state of decomposure. When exhibited now, the works inevitably assume the aura of a modern
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The largest variation on the theme was a giant double-skinned
Placentarium, filled with compressed air to keep the balloon inflated. Manzoni designed especially for the projection of
46:. Manufactured between October 1959 and March 1960, the pieces are a box, a tripod base, a deflated balloon and a mouthpiece. 45 copies were made and sold at 30,000
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has used ping pong balls suspended in compressed air, but within the context of floating above a bed of sharp knives or a skeleton.
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The final experiment was for a sphere held suspended by a jet of air. Again, this never advanced beyond a small experimental
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each. Originally, any buyer could ask
Manzoni to inflate the balloon himself, but would be charged an extra
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for every litre of air expanded. When fully expanded, the balloons measured 80 cm in diameter.
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whilst creating a poetic metaphor for the transience of life itself.
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Paintings & Sculptures, The Andy Warhol
Catalogue Raisonne
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Piero
Manzoni Catalogue Raisoné, Battino & Palazzoli
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Manzoni is known to have been heavily influenced by
152:which would vibrate in the blowing of the wind.’
328:Yves Klein, Sidra Stich, Hayward Gallery, p82
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159:His most lasting influence, however, was on
337:Yves Klein, Weitemeier, Taschen 2001, p. 20
267:"Art Brussels - 21 - 23 April 2017 - Works"
226:, Suzanne Cotter, Serpentine Gallery, 1998
163:, a group of Italian artists, including
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359:MoMA.org | The Collection | Arte Povera
303:"Placentarium" typescript published in
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86:The most famous related work is the
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319:, Celant, Electa 2007 pp. 242-245
292:Manzoni at the Serpentine Gallery
305:Piero Manzoni, Catalogo Generale
252:Letter to Heinz Mack, quoted in
212:Piero Manzoni Catalogue Raisoné
254:Piero Manzoni Catalog Generale
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374:The Piero Manzoni Archive
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42:by the Italian artist
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220:, Celant, Electa 2007
25:"Corpo d'Aria", 1960.
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349:02B, Phaidon, p. 222
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