Mario Merz
Mario Merz
意大利当代著名艺术家，“贫困艺术”运动的领航人， 代表作有《梦幻城市》、《闪电平原》等。
Abte pevera它可以理解为“穷的艺术”或“贫困艺术”。贫困艺术最初是由意大利著名评论家吉马诺·塞朗提出，1968年，塞朗在波洛拿组织了一次题为《贫困艺术》的展览，次年又相继推出一本《贫困艺术》一书，当时在意大利起到了不少的影响。贫困艺术其含意不是针对作品本身的质量而言的，而是指艺术家所选择的材料是普通的或日用的。他们比较注重物质简朴寒酸的环境和对于物品制作过程、功能、甚至是它们辩证性质的深层次的理解。这些物质在保留其自身的原始特征的同时还产生出可识别的形象性以及情感性，他包含了某种复杂的概念和结构。是在材料和技术中提炼的诗意。
Mario Merz was born January 1, 1925, in Milan. He grew up in Turin and attended medical school for two years at the Università degli Studi di Torino. During World War II he joined the anti-Fascist group Giustizia e Libertà and was arrested in 1945 and confined to jail, where he drew incessantly on whatever material he could find. In 1950, he began to paint with oil on canvas. His first solo exhibition, held at Galleria La Bussola, Turin, in 1954, included paintings whose organic imagery Merz considered representative of ecological systems. By 1966, he began to pierce canvases and objects, such as bottles, umbrellas, and raincoats, with neon tubes, altering the materials by symbolically infusing them with energy.
马里奥·梅茨1925年1月生于意大利米兰，长于都灵，曾入都灵degli studi di 大学医学院学习两年。二次大战中因参加反法西斯运动被捕入狱，在狱中他想尽一切办法用可得到的一切材料画画。1950年他开始在帆布上创作油画，1954年在都灵Bussola画廊举办首次个人作品展，包括梅茨考虑过从典型的生态系统角度组织肖像油画。1966年，他开始用霓虹灯刺穿帆布和物体，如：瓶子、雨伞和雨衣，以此改变物质的象征性注入新的能量。
In 1967, he embarked on an association with several artists, including Giovanni Anselmo, Alighiero Boetti, Luciano Fabro, Jannis Kounellis, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio, which became a loosely defined art movement labeled Arte Povera by critic and curator Germano Celant. This movement was marked by an anti-elitist aesthetic, incorporating humble materials drawn from everyday life and the organic world in protest of the dehumanizing nature of industrialization and consumer capitalism.
1967年，他走入了一个由几个艺术家组成的协会，包括Giovanni Anselmo, Alighiero Boetti, Luciano Fabro, Jannis Kounellis, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto,和 Gilberto Zorio,被批评家和策划人杰尔玛诺(Germano Celant)定义为“贫困艺术”(Arte Povera)运动的标志，这次运动明显的反审美精英，主张从每日生活中提炼粗微的材料组织世界，反对失掉人性自然的资本主义消费和工业化。
In 1968, Merz adopted one of his signature motifs, the igloo. It was constructed with a metal skeleton and covered with fragments of clay, wax, mud, glass, burlap, and bundles of branches, and often political or literary phrases in neon tubing. He participated in significant international exhibitions of Conceptual, Process, and Minimalist Art, such as Arte povera + azioni povera at the Arsenali dell’Antica Repubblica, Amalfi, and Live in Your Head: When Attitudes Become Form at the Kunsthalle Bern in 1968; the latter exhibition traveled to Krefeld, Germany, and to London. In 1970, Merz began to utilize the Fibonacci formula of mathematical progression within his works, transmitting the concept visually through the use of the numerals and the figure of a spiral. By the time of his first solo museum exhibition in the United States, at the Walker Art Center, Minneapolis, in 1972, he had also added stacked newspapers, archetypal animals, and motorcycles to his iconography, to be joined later by the table, symbolic as a locus of the human need for fulfillment and interaction. Merz often responds to the specific environment of his exhibitions by incorporating materials indigenous to the area as well as adjusting the scale of the work to the site. His first solo European museum exhibition took place at the Kunsthalle Basel in 1975, and his most recent retrospective was organized by the Solomon R Guggenheim Museum, New York, in 1989. Merz works in Turin, where he resides with his wife, artist Marisa Merz.
1968年，马里奥·梅茨采用在圆顶建筑主题签名的方法，它用金属骨架和隐蔽的粘土碎片，蜡、泥、玻璃、粗麻布、和捆绑的枝条构成，常常政治或文学上表达用霓虹灯。他参与重大的国际概念上的展览，极简主义艺术，如贫困艺术加 azioni povera......
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