Nul=0 No. 2. Main droite de Manzoni
Herman de Vries, Henk Peeters [Eds.]
1963
Nul=0 No. 2. Main droite de Manzoni
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Edited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine Nul = 0 had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups ...
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Nul=0 No. 2. Main droite de Manzoni
Herman de Vries, Henk Peeters
1963
Arnhem: Nul-Verlag
Unpaginated [24 pages]
27.7 × 21.7 cm
Edition of 500

Edited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine Nul = 0 had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian Azimut, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.




The four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.




Published in 1963, Nul = 0 No. 2 was conceived as a homage to Yves Klein, who had died on 6 June of that year, and Piero Manzoni, who had died on 6 February 1963. Its memorable cover reproduces the fingerprints of Manzoni’s right hand. The issue features contributions by Henk Peeters, Gillo Dorfles, Hans Haacke, and others, alongside a resonant statement by Yves Klein:




“It is not enough to say or write: I have gone beyond the problematic of art. One must still have done so. I have done so. For me, painting is no longer a function of the eye today; it is a function of the only thing within us that does not belong to us: our life.”




Or, in the original French:




« Il ne suffit pas de dire ou d'écrire : j'ai dépassé la problématique de l'art, Il faut encore l'avoir fait. je l'ai fait. Pour moi, la peinture n'est plus en fonction de l'œil aujourd'hui, elle est fonction de la seule chose qui ne nous appartient pas en nous : notre vie. »

Arnhem: Nul-Verlag
Unpaginated [24 pages]
27.7 × 21.7 cm
Edition of 500

Edited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine Nul = 0 had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian Azimut, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.


The four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.


Published in 1963, Nul = 0 No. 2 was conceived as a homage to Yves Klein, who had died on 6 June of that year, and Piero Manzoni, who had died on 6 February 1963. Its memorable cover reproduces the fingerprints of Manzoni’s right hand. The issue features contributions by Henk Peeters, Gillo Dorfles, Hans Haacke, and others, alongside a resonant statement by Yves Klein:


“It is not enough to say or write: I have gone beyond the problematic of art. One must still have done so. I have done so. For me, painting is no longer a function of the eye today; it is a function of the only thing within us that does not belong to us: our life.”


Or, in the original French:


« Il ne suffit pas de dire ou d'écrire : j'ai dépassé la problématique de l'art, Il faut encore l'avoir fait. je l'ai fait. Pour moi, la peinture n'est plus en fonction de l'œil aujourd'hui, elle est fonction de la seule chose qui ne nous appartient pas en nous : notre vie. »

DESCRIPTION

Edited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine Nul = 0 had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian Azimut, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.


The four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.


Published in 1963, Nul = 0 No. 2 was conceived as a homage to Yves Klein, who had died on 6 June of that year, and Piero Manzoni, who had died on 6 February 1963. Its memorable cover reproduces the fingerprints of Manzoni’s right hand. The issue features contributions by Henk Peeters, Gillo Dorfles, Hans Haacke, and others, alongside a resonant statement by Yves Klein:


“It is not enough to say or write: I have gone beyond the problematic of art. One must still have done so. I have done so. For me, painting is no longer a function of the eye today; it is a function of the only thing within us that does not belong to us: our life.”


Or, in the original French:


« Il ne suffit pas de dire ou d'écrire : j'ai dépassé la problématique de l'art, Il faut encore l'avoir fait. je l'ai fait. Pour moi, la peinture n'est plus en fonction de l'œil aujourd'hui, elle est fonction de la seule chose qui ne nous appartient pas en nous : notre vie. »

Arnhem: Nul-Verlag
Unpaginated [24 pages]
27.7 × 21.7 cm
Edition of 500

Edited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine Nul = 0 had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian Azimut, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.


The four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.


Published in 1963, Nul = 0 No. 2 was conceived as a homage to Yves Klein, who had died on 6 June of that year, and Piero Manzoni, who had died on 6 February 1963. Its memorable cover reproduces the fingerprints of Manzoni’s right hand. The issue features contributions by Henk Peeters, Gillo Dorfles, Hans Haacke, and others, alongside a resonant statement by Yves Klein:


“It is not enough to say or write: I have gone beyond the problematic of art. One must still have done so. I have done so. For me, painting is no longer a function of the eye today; it is a function of the only thing within us that does not belong to us: our life.”


Or, in the original French:


« Il ne suffit pas de dire ou d'écrire : j'ai dépassé la problématique de l'art, Il faut encore l'avoir fait. je l'ai fait. Pour moi, la peinture n'est plus en fonction de l'œil aujourd'hui, elle est fonction de la seule chose qui ne nous appartient pas en nous : notre vie. »

MORE BOOKS

Edited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine Nul = 0 had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian Azimut, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.


The four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.


Published in 1963, Nul = 0 No. 2 was conceived as a homage to Yves Klein, who had died on 6 June of that year, and Piero Manzoni, who had died on 6 February 1963. Its memorable cover reproduces the fingerprints of Manzoni’s right hand. The issue features contributions by Henk Peeters, Gillo Dorfles, Hans Haacke, and others, alongside a resonant statement by Yves Klein:


“It is not enough to say or write: I have gone beyond the problematic of art. One must still have done so. I have done so. For me, painting is no longer a function of the eye today; it is a function of the only thing within us that does not belong to us: our life.”


Or, in the original French:


« Il ne suffit pas de dire ou d'écrire : j'ai dépassé la problématique de l'art, Il faut encore l'avoir fait. je l'ai fait. Pour moi, la peinture n'est plus en fonction de l'œil aujourd'hui, elle est fonction de la seule chose qui ne nous appartient pas en nous : notre vie. »

MORE BOOKS