|
标题好学术啊！ 分享来自 低调的“知了” ^^ 圖 Mario Merz（马里奥·梅尔茨，1925-2003）生于意大利米兰，长于都灵，曾入都灵大学医学院学习两年。意大利著名的当代艺术家，是“贫穷艺术”的领头人物，他通过观察自己周围的世界，对雕塑的种种可能性进行了反复思考,这是一位自学成才的艺术家。 二次大战中梅尔茨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，包括梅尔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。
Benzinaro, 1956,Oil on canvas,80 × 60 cm. Untitled, 1957,Mixed media on canvas,160 × 110 cm. 他的作品总是带有这样一个疑问：在面对一个不确定的未来时，艺术家能做什么？和其他贫穷艺术家一样，梅尔茨对为了现代性而表现现代性感到厌烦，相反，他试图去探索艺术在日复一日的人生体验中扮演的角色，并将注意力放到了一些现成的材料上，比如玻璃、金属导管、毛毯、瓶子、木屑和霓虹灯等，这些材料在这场展览中就有突出的表现。 他的雕塑作品同时还回应了构成我们自然环境的各种体系，比如数学上的斐波纳契数列（即黄金分割数列）等。 Lancia,1966,Plexiglas, legno, 292 x 60 x 30 cm. Impermeabile,1966,Impermeabile, neon, legno, cera, 125 x 70 x 40 cm. Conec.1967,Willow,221 x 129 x 129cm. 1967年，他走入了一个由几个艺术家组成的协会，被定义为“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。
Lingotto,1968,Brush-wood, beeswax and steel,262 x 313 x 114 cm.
Sitin,1968,Struttura metallica, rete metallica, cera, neon, 18 x 56 x 64 cm.
Mai Alzato Pietra Su Pietra, 1968 ,Igloo-hemisphere of iron pipes, mains, cloth, neon-letters,Height: 100 cm, Diameter: 200 cm.
Igloo di Giap, 1968.
Città irreale,1968,Struttura metallica, rete metallica, cera, neon, 110 x 62 x 10 cm.
Igloo con albero ,1968-1969 .
Che Fare?1968–73,Aluminium, wax and neon lights,12.5 x 67 x 19 cm, 2.8 kg.
Igloo Objet cache-toi, 1968-1977,aluminium, c-clamps, mesh, glass, neon and transformer, 185 x 365cm. 1968年，马里奥·梅尔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，如贫困艺术加贫困行为艺术。
Lingotto, 1969,beeswax, steel and branches,335,4 x 174 x 170,2 cm.
Spirale di cera,1970 – 1981,Cera, 6,5 x ? 712 cm.
Fibonacci Napoli (Factory in San Giovanni a Teduccio),1971,Black and white photograph, neon and transformer,Variable dimensions / Photograph: 20 x 30 cm.
Alligator with Fibonacci Numbers to 377, 1971-1979,Dimensions variable.
Iguana ,1971,stuffed iguana, neon, transformer ,220 x 16 x 10 cm.
Untitled (A Real Sum is a Sum of People),1972,10 photographs, gelatin silver print on paper and neon lights,each: 26 x 26cm,overall display dimensions variable.
Igloo (di Marisa),1972,Struttura metallica, rete, panini di stoffa, neon in scatola di plexiglas, 150 x ? 300 cm.
Untitled table painting,1974 ,synthetic polymer paint synthetic polymer paint, 267.7 h x 382.5 w cm .
Fibonacci Tables,1974–76,Charcoal, acrylic paint, metallic paint and neon on canvas,266 x 382cm.
6765,1976, eighty-three stacks of newspapers, glass plates and neon tubes overall: 900 x 500 cm. dimensions variable.
La natura è l’equilibrio della spirale,1976,Tecnica mista su tela, struttura in metallo, 228 x 541 cm.
Un albero occupa soprattutto tempo, due alberi occupano il medesimo tempo ma uno spazio maggiore,1976,Terra, neon, dimensioni ambiente.
Igloo, Do We Go Around Houses, or Do Houses Go Around Us? 1977, reconstructed 1985,Steel, slate, glass, putty and lightbox,266 x 500 x 1026 cm.
The Legs,1978,Metal, black chalk, acrylic paint, neon, transformer and heather branches,250 x 280 cm.
Mandria, 1978,Oil, charcoal and enamel on jute.
Untitled, 1978,180 × 412 cm.
Sunset in a Glass,1979,Acrylic paint, black chalk, neon and transformer,410 x 283 cm.
Fall of the House of Usher.1979.
I giganti boscaiuoli, 1981-1982,Oil, acrylic, charcoal and neon,248.9 × 584.2 cm.
Untitled, 1981/82, acrylic, enamel, spray paint, oil, and charcoal on canvas,245 x 462,3 cm.
Untitled, 1982, oil and water-based paint with clay, snail shell and leaves on wood,89,5 x 165,7 cm.
Spiral table, 1982, aluminum, glass, fruit, vegetables, branches, and beeswax 548,6 cm diameter.
Wandering Songs I (Canti errabondi I), 1983,Acyrlic and oil on canvas with tree branch and beeswax,287 × 777.2 × 101.6 cm.
Untitled, 1983,Mixed media on jute,206 × 423 cm.
The Leaves, 1983-84, acrylic, enamel, spray paint, gold leaf, gesso, charcoal on canvas,213,4 x 812,8 cm.
Epoca Del Ferro, 1983-85 ,charcoal, acrylic, enamel, oil on canvas with three metal attachments ,246,4 x 267 cm. canvas 305 x 356 cm overall.
very slowly, very softly, 1984, beeswax, pine cone, Plexiglas, steel and aluminum ,259 x 80 x 60 cm.
Igloo - 1984/1992 .
Untitled, 1985,Pencil, pastel and charcoal, maple leaf, adhesive tape, on transparent paper,134 × 109 cm.
Verso lo Zenith,1985,Struttura metallica, legno, cera, lana di ferro, 280 x 200 x 200 cm.
Double spiral,1985,iron, 230 x 125 cm diameter.
Four tables in the shape of magnolia leaves, 1985, beeswax and mixed media on 16 welded steel tables ,73,7 x 1981 x 152,4 cm.
8,5,3, 1985 ,metal, glass, twigs, wire mesh, tar paper, tar, neon, and string.
Untitled, 1988,Aquatint and drypoint,69.9 × 49.5 cm,Edition of 30.
Untitled (Igloo), 1989,Wax, rock, neon, glass, metal,425 × 850 cm.
Igloo Ticino, 1990,Stone and metal,170.2 x 330.2 x 330.2 cm.
Fulmine in tazzina,1990,Tavoli in metallo, tazza, bamboo, lana di ferro, neon, pietre, argilla, dimensioni variabili.
Line,1991, metal frame, charcoal on canvas, neon, 520 x 200 cm.
74 gradini riappaiono in una crescita di geometria concentrica,1992,Gradini in pietra, tondino in ferro e strutture angolari, 8 igloo, ciascuno: 430 x 430 x 210 cm.
Continent to Continent ,1993.
Untitled, 1994,Mixed media on canvas, neon,180 × 540 cm.
(Senza titolo) Luoghi senza strada,1994,Struttura metallica, pietra, neon, 200 x ? 400 cm.
Albero grande solitario, 1995,Steel, glass, stones and brushwood,2.7 × 4.5 × 13 cm.
Coccodrillo perfetto, ca. 1995,Belgian granite, chalk; 3 panels,160 × 280 × 1.6 cm.
Untitled, 1998,Metal structure, faggots, deer cast in aluminum, neon,6.09 meters x 8 meters.
Untitled, 1998,Buffalo Head and Fibonacci numbers,Dimensions variable.
Senza Titolo (Animale), 1998,Cardboard on 2 sheets Folex, Neon,150 × 345 cm.
Igloo, 2002,Metal tubular, clips, and irregular stone fragments,180 × 500.1 × 500.1 cm.
Movements of the Earth and the moon on a axis,2003, metal tubes, glass, stone, neon, clamps, clay, 1000 x 600 x 300 cm.
Senza Titolo,2003,Ferro e legno, 195 cm x 155 cm x 155 cm. Arte povera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。
|
|
|
