The First Art Newspaper on the Net    Established in 1996 Friday, September 17, 2021


Retrospective on the work of Mario Merz on view at the Museo Reina Sofía in Madrid
View of the exhibition Mario Merz.



MADRID.- This retrospective on the work of Mario Merz (Milan, Italy, 1925 – Milan, Italy, 2003) surveys the provenance of a body of work suspended in a kind of pre-historic time, at odds with the discourse of modern-era history. This anachronistic perspective, apparent in the choice of materials and iconography, stems from the ideological and committed stance of an artist and his relation to the political and intellectual climate in Italy in the 1960s and 1970s, in addition to his rejection of pervasive capitalism and the American way of life after the Second World War.

Merz’s practice, linked to Arte Povera, incorporates different key characteristics that the coetaneous art critic Germano Celant identified with this movement: in addition to its opposition to the post-industrial society of consumerism, we find a conscious use of organic materials such as clay, branches, wax and coal. From the application of these materials stem some of the recurring associations in the pre-modern imagery of the artist, for instance fire, lightning bolts and arrows; figures with mythical and geological meanings – the igloo, the table, the spiral, the river; or ancestral animals like the rhinoceros and the crocodile. These motifs, coupled with the idea of the nomad, run through the breadth of the artist’s poetics, vindicating lifestyles in consonance with nature that resist the predatory schemes of capitalist modernity. Thus, the search for mythology distinguished Merz’s work from his kindred contemporaries, for his archaism bore no relation to a melancholic yearning for the past, but instead was related to a razor-sharp critique of industrial and consumerist modernity.

Moreover, his biography renders an account of this political and poetic engagement — as a member of the anti-fascist resistance group Giustizia e Libertá, he was imprisoned for his activism in 1945, at a time when he started to use makeshift materials such as letters and food packaging. Very early in his career, he explored his political and social concerns in aesthetic terms, most notably in emblematic works like Igloo di Giap and Che fare?, which materialised from the fervour of May ’68 and from political and philosophical ideas that, particularly in Italy, refashioned the classical concept of Marxism regarding the role of the intellectual as a revolutionary subject.










Today's News

January 2, 2020

The Belle Époque comes to life through stunning exhibition in Vero Beach

Exhibition at Kunstmuseum Basel pays homage to its most important patron

Museums throw open the storage rooms, letting in the public

Berlinische Galerie acquires a work by Lotte Laserstein

Woody Vasulka, whose video art extended boundaries, dies at 82

Galerie Thaddaeus Ropac Paris presents an exhibition devoted to Irving Penn's still lifes

Mourning Iraq's destruction, a native son creates

Book offers the most comprehensive overview of Christo and Jeanne[Claude to date

Couture creations for dancing bodies

The Regional Government 0f Bizkaia agrees to house Zubieta's Goyas in the Bilbao Fine Arts Museum for 7 years

Arte Fiera announces the list of galleries participating at its 44th edition

Major exhibition of early works by Alan Davie and David Hockney on view at The Hepworth Wakefield

Munnings Art Museum announces lavish new book of previously unseen letters between the artist and his wife

Museum of Anthropology explores urgent social issues through ceramic arts in new exhibition

'Don't believe a word,' a look at language and power (and why dolphins have accents)

Exhibition features some of the best international Indigenous contemporary art

Retrospective on the work of Mario Merz on view at the Museo Reina Sofía in Madrid

Johanna Kandl explores the physical dimension of artworks in exhibition at the Lower Belvedere

Folk puppets keeping heritage of Egyptian satire alive

First New York exhibition by The Beautiful Project on view at The Met's Education Center

Adam Driver has put everything he's got on screen

Review: Anna Netrebko rings in the year with a Met Gala

Maria Phillips' Bellevue Arts Museum exhibition interrogates our relationship with plastic

Burning issue: China's incense makers toil ahead of Lunar New Year

Design Ideas from The World's Best Online Casinos

Online slots in Canada - best way to play

Poets and mobile applications - a digital approach to writing

Lootie's provably fair system

The Best Vape Brand of 2020

ICT Suites: The Plethora of Advantages it Offers




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful