Imagine hearing that there is an artwork that contains actual shit, and that it is being sold at the price of gold. This is the shocking reality of Piero Manzoni's "Merda d'artista" series, in which the Italian artist cans his own feces and labels the cans with his signature and the words "Merda d'artista" (Artist's Shit). This provocative and challenging artwork challenges our assumptions and beliefs about art, and forces us to confront our own reactions and feelings about the use of feces as an artistic material. Is this art, or is it simply a gross and disgusting stunt? Is it worth the price of gold, or is it a waste of money? These are the questions that Manzoni's "Merda d'artista" series raises, and they are questions that we must each answer for ourselves.

PIERO MANZONI (1933-1963)

Piero Manzoni was born in 1933 in Soncino, Italy. He studied art at the Brera Academy in Milan and began his career as a landscape painter. However, he quickly became interested in the neo-avant-garde movement and began to experiment with more radical and unconventional forms of art.

Manzoni's early work was influenced by Surrealism and the Dada movement, and he became known for his provocative and often controversial artworks. In 1957, at the age of 23, Manzoni visited an exhibition of Yves Klein's blue paintings in Milan. This experience had a profound effect on him and led him to question the nature of art and its relation to conventional mediums and techniques. As a result, Manzoni began to create a series of "achrome" paintings and other works that sought to subvert traditional notions of art. these paintings explored the relationship between color, form, and space.

In 1961, he created his famous "artist's shit" cans, which consisted of cans filled with his own feces and labeled as "Merda d'artista" (artist's shit).

Manzoni's work was influential in the development of the conceptual art movement, and he is considered one of the movement's leading figures. However, his career was cut short when he died at the young age of 29 in 1963. Despite his early death, Manzoni's work continues to be celebrated and is considered some of the most important and influential art of the 20th century.

Avant-Garde and Neo Avant-Garde Movement

First, let's understand what avant-garde and neo avant-garde are and the role of semiotics in these movements. Then we can explore Manzoni's works within this context.

The term "avant-garde" originated from the military term "advance guard," and was used to describe a group of artists who were at the forefront of the art world.  It was a broad and diverse artistic movement that emerged in the late 19th and early 20th centuries. These artists sought to challenge the conventions of traditional art, and to push the boundaries of what was considered to be acceptable or "normal" in the art world. Avant-garde art often rejected the traditional forms of art, such as painting and sculpture, and instead embraced new forms of expression, such as performance art, installation art, and conceptual art. Some well-known artists associated with the avant-garde movement include Marcel Duchamp, Tristan Tzara, and John Cage.

The Neo Avant-Garde movement was a movement that emerged in the 1960s and was characterized by its rejection of traditional art forms and its embrace of experimentation and innovation. This movement was influenced by earlier avant-garde movements, such as Surrealism and Dadaism, but it also incorporated elements of Conceptual Art and Minimalism. Neo-Avant-Garde artists often sought to challenge the conventions of the art world and to question the nature of art itself.

One key difference between the avant-garde and neo avant-garde movements is their focus. The avant-garde movement was focused on challenging the norms and conventions of the art world, and on pushing the boundaries of what was considered to be acceptable or "normal" in art. The neo-avant-garde movement, on the other hand, was more focused on revisiting and reinterpreting the ideas of the original avant-garde movement, and on finding new ways to express these ideas through art.

Another key difference between the two movements is their attitude towards tradition. The avant-garde movement was characterized by a strong rejection of traditional forms of art, and a desire to break with the past and create something completely new and original. The neo avant-garde movement, on the other hand, was more open to incorporating elements of tradition into their work, and sought to find new ways to interpret and reinterpret the ideas and themes of the original avant-garde movement.

Piero Manzoni was a member of the Neo-Avant-Garde movement. Manzoni's work had a significant impact on the Neo-Avant-Garde movement. His use of unconventional materials and his rejection of traditional art forms challenged the conventions of the art world and paved the way for other artists to experiment with new approaches to art-making. His use of his own body and its products as subject matter also influenced other artists who were interested in exploring the relationship between the artist and their work. Overall, Manzoni's work played a key role in the development of the Neo-Avant-Garde movement and its rejection of traditional art forms.

In addition to its rejection of traditional art forms, the Neo-Avant-Garde movement was also influenced by the field of semiotics.

Semiotics

Semiotics is the study of signs and symbols, and how they are used to create meaning in art and culture. In art, semiotics is concerned with how artists use signs and symbols to convey meaning and express ideas.

In semiotics, there are three main types of signs: icons, symbols, and indices. Icons are signs that resemble the things they represent, such as a picture of an apple that represents an apple. Symbols, on the other hand, are signs that are arbitrary, and do not have a natural connection to the things they represent. For example, the red cross is a symbol of the Red Cross organization, but there is no inherent connection between the red cross and the organization it represents. Indices, meanwhile, are signs that have a natural or causal connection to the things they represent. For example, smoke is an index of fire, because it is a sign that is naturally produced by fire.

Artists often play with these different types of signs in order to create meaning in their work. For example, an artist might use an index, such as a piece of fabric, to represent a symbol, such as a flag. In this case, the piece of fabric becomes a symbol for the flag, because it has been used to represent it. The artist has turned an index into a symbol by using it to represent something else.

This use of semiotics to explore complex themes is a common approach in the art of the 1960s, as artists sought to engage with the social and political issues of the time through their work. For Neo-Avant-Garde artists, semiotics was a useful tool for exploring the relationship between the artwork and its meaning, as well as the ways in which meaning is constructed and communicated through the use of signs and symbols.

One example can be seen in Jasper Johns' works, Jasper Johns is a well-known American artist who is famous for his paintings of the American flag. From a semiotic perspective, Johns' paintings of the flag can be seen as a play on the different types of signs and their meanings.

In Jasper Johns' paintings of the American flag, he plays with the different types of signs to create meaning and express ideas. For example, in his painting "Flag," Johns uses the actual fabric of the flag as an index, because it has a natural connection to the thing it represents (the flag itself). By using the actual fabric of the flag, Johns is able to create a sense of realism and authenticity in his painting. However, at the same time, he also plays with the symbolic meaning of the flag, by depicting it in a way that is abstract and stylized. By combining the indexical and symbolic meanings of the flag, Johns is able to create a complex and multi-layered work of art that engages with the meaning and significance of the American flag.

Manzoni's work was particularly influenced by semiotics, as seen in his use of feces as an artistic material. By using his own feces as the subject matter of his work, Manzoni was exploring the ways in which meaning is constructed and communicated through the use of bodily materials. His work also challenged the conventional understanding of what could be considered "art," and forced viewers to confront their own assumptions and beliefs about the nature of art.

Merda d’artista (Artist’s Shit) Series

If Collectors want something intimate, something truly personal from the Artist, here is the Artist's Shit.

*-*Piero Manzoni, Letter reprinted in Battino and Palazzoli p.144

Piero Manzoni's "Merda d'artista" series is a provocative commentary on the relationship between art and value. The series consists of small, metallic cans filled with the artist's own feces. Each can is labeled with a photograph of the artist and the words "Merda d'artista" in bold letters. The cans were sold in editions of 90, with each can being numbered and signed by Manzoni. In a provocative move, the artist sold each can by weight at the daily market price of gold, making the excrement literally worth its weight in gold.

The cans themselves are small, measuring 4.8 x 6.5 cm, and weigh 30 grams each. The feces were collected and preserved in formaldehyde, and then placed inside the small metallic cylinders. The labels on the cans state that the contents are "freshly preserved, produced and tinned" by the artist. This information is printed in Italian, French, German, and English, against a background pattern produced by repeating the artist's name in block letters.

Manzoni's decision to sell the cans by weight at the daily market price of gold is a commentary on the arbitrary nature of value and the ways in which it can be manipulated. By making the excrement worth its weight in gold, Manzoni highlights the absurdity of assigning value to objects and the power dynamics at play in the art world. The series has sparked controversy and outrage, with some critics dismissing it as nothing more than a cheap gimmick. However, others have hailed it as a clever commentary on the relationship between art and value.

Since their creation, the "Merda d'artista" cans have been highly sought after by collectors, and have sold for significant sums of money. In 2007, one of the cans was sold at auction for over $100,000, and in 2018, another was sold for over $150,000. These record-breaking prices reflect the continued relevance and significance of Manzoni's work, as well as the growing value of art over time.

The "artist's shit" cans were met with a range of reactions from the public and the art world. Some people found the work shocking and provocative, while others saw it as a clever and thought-provoking commentary on the commodification of the artist's body and the value of art.

The work was seen by many as a stunt, with some critics dismissing it as nothing more than a cheap and tasteless attempt to shock and offend. However, others saw it as a serious and thought-provoking work of art, and it has continued to be discussed and debated by art critics and scholars.

One example of a real reaction to the "artist's shit" cans can be found in a review by art critic Laura Cumming, published in The Guardian. In the review, Cumming writes: "The cans of excrement he filled and labelled Merda d'Artista (Artist's Shit) are still among his best known works. Not just because they are revolting, but because they are somehow serious, too. They exist in editions of 90, each signed and numbered by the artist...The jokes are never far away - the artist who signed his shit, the very embodiment of the avant-garde - but the work is deadly serious." This reaction highlights how the "artist's shit" cans are seen as both shocking and provocative, but also as a serious and thought-provoking work of art.

Is It Art?

We can interpret and analyze this work in different ways, from a scientific perspective to an existentialist one. In addition, we can also consider the semiotics of the work, examining how it uses signs and symbols to communicate meaning and create an overall aesthetic effect.

Feces are a valuable matter in the scientific world as they contain a wealth of information about an individual's health and well-being. They can be analyzed to detect the presence of diseases, parasites, and other health conditions. As such, feces are a powerful symbol of the ways in which science can provide insight into the human body and its functioning.

However, in the world of art, feces are often seen as distasteful and vulgar. They are not traditionally considered valuable or worthy material for art, and their use is often met with disgust and revulsion. This is because art and science operate in different realms, with art often focused on aesthetic and emotional expression, while science focuses on empirical evidence and data.

Piero Manzoni's "artist's shit" cans bridge this gap between art and science by using feces as a semiotic symbol. By labeling the cans as "artist's shit" and presenting them as a work of art, Manzoni challenges the traditional boundaries between the two realms and encourages viewers to consider the value and worth of feces in both art and science. In doing so, he highlights how semiotics can be used to examine the meaning and significance of symbols and signs in different contexts.

Merda d'Artista can also be seen as a self-portrait. The use of his own feces as the medium for the work is a highly personal choice that reveals a great deal about Manzoni himself. In addition to the artistic realm, our portraits can be seen in different ways in other fields. For example, in the realm of science, a doctor may use our blood or feces to create a portrait of our health. By analyzing these bodily substances, a doctor can gain valuable insights into our physical well-being and determine the best course of treatment for any health issues we may be experiencing. In this way, our portraits can be seen as multi-dimensional, with different aspects being revealed depending on the context and perspective from which they are viewed. By choosing to present his own bodily waste as a work of art, Manzoni is making a statement about the role of the artist and the relationship between the artist and their art. The work can be seen as a reflection of Manzoni's own thoughts and feelings about the art world and his place within it. In this way, the work can be interpreted as a self-portrait that offers a glimpse into the mind and motivations of the artist.

From an existentialist perspective, Piero Manzoni's "artist's shit" cans can be seen as a critique of the commodification of the artist's body. By using his own feces as the main material for the work, Manzoni highlights the ways in which the artist's body can be reduced to a mere production mechanism, with its output being valued and sold based on its perceived worth.

Existentialism emphasizes the importance of individual freedom and choice, and Manzoni's use of his own feces as the main material for the work can be seen as a refusal to conform to traditional notions of what constitutes art. By creating this work, he asserts his own agency and autonomy, and challenges the audience to confront their own preconceived notions about the value and worth of art.

In addition, the "artist's shit" cans can be seen as a commentary on the meaningless and absurdity of existence. The fact that Manzoni's feces are preserved in formaldehyde and sold as a work of art can be seen as a reflection on the arbitrary and meaningless nature of the art world and its valuation of objects. By using feces as the main material for the work, Manzoni highlights the absurdity of trying to assign value and worth to something that is ultimately ephemeral and transitory.

Piero Manzoni's "artist's shit" cans can be compared to the idea of the prophet's body as a sacred vessel. In many religious traditions, the bodies of the prophets are seen as being imbued with divine power and are treated with great reverence and respect. This is because the prophet's body is seen as the vessel through which divine knowledge and wisdom are transmitted to the world.

Similarly, Manzoni's use of his own feces as the main material for the work can be seen as a commentary on the artist's body as a sacred vessel. By using his own bodily substances as the main material for the work, Manzoni highlights how the artist's body can be seen as a source of creative power and inspiration. In this way, he draws a parallel between the sacredness of the prophet's body and the sacredness of the artist's body and challenges the audience to consider the value and worth of both.

Conclusion

In conclusion, Piero Manzoni's "Merda d'artista" series is a provocative and challenging work of art that forces us to confront our assumptions and beliefs about the nature of art. Through his use of feces as an artistic material, Manzoni challenges traditional notions of beauty and good taste, and questions the value and meaning of art. His work is an important contribution to the avant-garde and neo-avant-garde movements, and his bold use of unconventional materials and his critique of the art world continue to influence contemporary artists. By pushing the boundaries of what is considered acceptable in art, Manzoni encourages critical dialogue and reflection on the role of the artist and the value of art. Despite the controversy and disgust that it may elicit, "Merda d'artista" is a significant and thought-provoking work that challenges our assumptions and invites us to consider the meaning and value of art in our society.