![]() Soon Manzoni was using the term Achrome to refer to all of his works. By giving them this name, Manzoni was indicating the primacy of the physical nature of these works and the objectivity of their surface. The artist’s application of material to the canvas was a physical act that remained purely physical, devoid of any aesthetic courtship, and the absence of color – which differs substantially from Yves Klein’s concept of the monochrome – producing what Manzoni initially referred to as Achrome Surfaces. Early the following year, the critic and expert on aesthetics Luciano Anceschi wrote about Manzoni’s ‘mesmerized surfaces of absolute white, entrusted to the sensitivity in the way the material is treated and broken up by plastic reliefs and their shadows.’ This was Duchamp’s idea of ‘indifférence visuelle’ applied to painting Manzoni was nullifying the idea of ‘quality’ and the dimension of the artifice. The year was 1957, and Manzoni was working on his first Achromes. ‘We cannot accept any manifestation of color that is meant to be a medium,’ wrote Piero Manzoni in his theoretical text ‘Una nuova zona di immagini (A New Zone of Images)’.
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