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Mario Merz

Impermeabile, 1967

Raincoat, wood, wax, neon tubes
49 1/4 × 66 15/16 × 15 3/4 in
125.1 × 170 × 40 cm
location
New York, Beverly Hills, San Francisco, London, Paris, Le Bourget, Geneva, Basel, Rome, Athens, Central, Hong Kong
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About the work
Image rights
© 2013/Artists Rights Society (ARS), New York / SIAE, Rome. Photo by Zarko Vijatovic
Mario Merz
Italian, 1925–2003
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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.

Save
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share
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About the work
Image rights
© 2013/Artists Rights Society (ARS), New York / SIAE, Rome. Photo by Zarko Vijatovic
Mario Merz
Italian, 1925–2003
Follow

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

Impermeabile, 1967

Raincoat, wood, wax, neon tubes
49 1/4 × 66 15/16 × 15 3/4 in
125.1 × 170 × 40 cm
location
New York, Beverly Hills, San Francisco, London, Paris, Le Bourget, Geneva, Basel, Rome, Athens, Central, Hong Kong
Want to sell a work by this artist? Consign with Artsy.
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