Tag: arte povera

Mario Mera

Paintings by Mario Merz

A key member of the Arte Povera group, Mario Merz produced expansive mixed-media paintings, sculptures, and installations, through which he propagated an egalitarian, human-centered vision. Through art, he counteracted what he saw as the dehumanizing forces of industrialization and consumerism.

Together with compatriots including Jannis Kounellis and Michelangelo Pistoletto, Merz eschewed fine art materials in favor of everyday and organic matter, like food, earth, found objects, and neon tubing. In 1968, he presented his first igloo, which became a motif in his work, representing the fundamental human need for shelter, nourishment, and connection to nature.

By 1970, the Fibonacci sequence became central to his work, shaping the tables and spiraling forms for which he was known, and incorporated into his igloos and canvases. In these Merz sought limitlessness, against the confines of modern life.

Mario Merz

Paintings and Sculptures by Italian Artist Mario Merz

Born in Milano Merz started drawing during World War II, when he was imprisoned for his activities with the Giustizia e Libertà antifascist group. He experimented with a continuous graphic stroke–not removing his pencil point from the paper. Merz explored the relationship between nature and the subject, until he had his first exhibitions in the intellectually incendiary context of Turin in the 1950s, a cultural climate fed by such writers as Cesare Pavese, Elio Vittorini, and Ezra Pound. He met Italian artist Marisa Merz during his studies in Turin in the 1950s. They were associated with the development of Arte Povera, and both were influenced by each other’s works.

Merz discarded abstract expressionism’s subjectivity in favor of opening art to exterior space: a seed or a leaf in the wind becomes a universe on his canvas. From the mid-1960s, his paintings echoed his desire to explore the transmission of energy from the organic to the inorganic, a curiosity that led him to create works in which neon lights pierced everyday objects, such as an umbrella, a glass, a bottle or his own raincoat. Without ever using ready-made objects as “things” (at least to the extent that the Nouveau Realistes in France did), Merz and his companions drew the guiding lines of a renewed life for Italian art in the global context.