How can we conserve both the Artist’s Idea and the Material? The special case of a ‘Achrome’ of Piero Manzoni

The study and treatment of a contemporary work from 1962, known as Achrome by Piero Manzoni, characterized by achromatic, white, cotton and wool squares, is a result of the TEMART Project, “Advanced techniques for the material knowledge and the conservation of historic-artistic heritage” under the auspices of the Tuscan Region. Contemporary artists seem to prefer materials that are perishable. But what stance should we take when we risk losing the artist’s real intent because of these changes? What can be done when faced with a work meant to be achromatic and this condition no longer exists? What are the actual causes of this change? What is the best treatment approach? In cases of a living artist or written testimony about his/her work, the conservator and art historian can be guided on materials and procedures in treatment. But what path can we take when the artist is no longer alive and/or did not leave any directives? As the result of work between the Textiles Laboratory at the Opificio delle Pietre Dure in Florence and the Centre for Colloid and Interface Science (CSGI), Chemistry Department, University of Florence, an alternative to the replacement of the constituent materials of the work was evaluated.