The international impact was notable: in July, “Libera dimensione” was translated into Japanese in issue No. 7 of The Geijutsu-Shincho, a magazine that had already dedicated an article to Manzoni; after exhibiting on the 25th of February with Bonalumi, Castellani, Peters and others in Neue Malerei at the Galerie des Kleintheater in Berne, with exponents of the Dutch Zero/Nul group, the 1st of March saw Manzoni make his London debut at the New Vision Centre in Castellani Manzoni. A new artistic conception, while on the 9th of April the group show La nuova concezione artistica opened at the Circolo del Pozzetto in Padua with the publication of the manifesto of the same title signed by Manzoni, Castellani, Mack, Alberto Biasi and Manfredo Massironi. In September, the authoritative Juan-Eduardo Cirlot published “¿Un nuevo idealismo? Piero Manzoni y la nueva concepción artística” in Correo de las Artes, No. 27, Barcelona.

Once again it was in Northern Europe that Manzoni’s work had its greatest impact. On the 10th of June, he inaugurated the solo show Luftskulptur Billeder 9 Linier at the Galerie Køpcke in Copenhagen (Arthur Køpcke was at that time one of the most fervent supporters of Nouveau Réalisme and then Fluxus), with six Achromes in kaolin or stitched with a sewing machine, nine Linee, four Corpi d’aria and, for the first time, a basket of hardboiled eggs consecrated - as Manzoni wrote - with his fingerprint: another variation was to be the Uova scultura (Egg sculptures), to be kept in a wooden box rather than eaten.


Cover of the magazine The Geijutsu Shincho, no. 7, Tokyo, July 1960

Exhibition poster for Neue Malerei, Galerie des Klein-Theater, Bern, 1960

Invitation to the exhibition Piero Manzoni, Galerie Køpcke, Copenhagen, 1960

Impronta (Thumbprint), 1960, ink on paper, 10 × 7,5 cm

Uovo scultura n. 29 (Egg Sculpture No. 29), 1960, egg in a wooden box, 5,5 × 6,5 × 8 cm