GP
Giorgio Persano
Medium

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.

High auction record
£1m, Christie's, 2014
Blue chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions
2016
TILL IT’S GONE: An Exhibition on Nature and SustainabilityIstanbul Modern
Masterworks from the Hirshhorn CollectionHirshhorn Museum and Sculpture Garden
2013
Mario MerzGagosian
View all

Untitled, 1987

Mixed media on paper
52 4/5 × 64 3/5 in
134 × 164 cm
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GP
Giorgio Persano
Medium

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.

High auction record
£1m, Christie's, 2014
Blue chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions (3)
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