Author: @metmuseumph

Senza Titolo

Marisa Merz

Senza titolo

Untitled

Copper wire, nails, canvas on frame
1976

Collection of Fondazione Merz

Marisa Merz (1926-2019) was the sole female artist of the Arte Povera movement. Her works blur the distinctions between domestic objects and art objects, making use of everyday materials like blankets, bowls of salt, and copper wires. She often left her works unnamed and undated, claiming that artmaking operated “beyond time.” In 2013, Merz received the Golden Lion award for lifetime achievement at the Venice Biennale. 

  • Her work in the exhibit reveals her poetic sensibilities and her delightful simplicity through all these copper wires knitted by her own hands. By choosing copper, the artist brings out the delicateness and intricacy of the material. Stretching them to squares using brass-head nails along the wall evokes strength as well; stable yet fragile. Some bare, noting their absence. The irregular arrangement on the wall still maintains a sense of connection, like a constellation, and that it is still growing.

  • Her work in the exhibit reveals her poetic sensibilities and her delightful simplicity through all these copper wires knitted by her own hands. By choosing copper, the artist brings out the delicateness and intricacy of the material. Stretching them to squares using brass-head nails along the wall evokes strength as well; stable yet fragile. Some bare, noting their absence. The irregular arrangement on the wall still maintains a sense of connection, like a constellation, and that it is still growing.

  • Her work in the exhibit reveals her poetic sensibilities and her delightful simplicity through all these copper wires knitted by her own hands. By choosing copper, the artist brings out the delicateness and intricacy of the material. Stretching them to squares using brass-head nails along the wall evokes strength as well; stable yet fragile. Some bare, noting their absence. The irregular arrangement on the wall still maintains a sense of connection, like a constellation, and that it is still growing.

  • Her work in the exhibit reveals her poetic sensibilities and her delightful simplicity through all these copper wires knitted by her own hands. By choosing copper, the artist brings out the delicateness and intricacy of the material. Stretching them to squares using brass-head nails along the wall evokes strength as well; stable yet fragile. Some bare, noting their absence. The irregular arrangement on the wall still maintains a sense of connection, like a constellation, and that it is still growing.

Senza Titolo

Jannis Kounellis

Senza titolo

Untitled

Chairs, charcoal, jute bags, fabric
2005

Private Collection

Jannis Kounellis (1936-2017) was a Greek-born performance artist and sculptor. Originally trained in painting, Kounellis eventually shifted to installations. He created works that juxtaposed disparate materials, including stone, cotton, coal, bed frames, and doors. This artistic method can be seen in works where he has installed live birds in cages alongside paintings, sculptures accompanied by the playing of a Bach score, and his recurring installations wherein 12 live horses are displayed in galleries or other art spaces.

  • The work is a stage set of ten wooden chairs arranged in a circle, facing inwards and communing with one another.  On top of each chair are black tied-up sacks containing coal — a symbolic quality of weight, baggage,and  collective memory. It evokes some theatrical sense that recalls the artist’s experience in working for the stage creating scenographies and his musings on the human condition.

  • The work is a stage set of ten wooden chairs arranged in a circle, facing inwards and communing with one another.  On top of each chair are black tied-up sacks containing coal — a symbolic quality of weight, baggage,and  collective memory. It evokes some theatrical sense that recalls the artist’s experience in working for the stage creating scenographies and his musings on the human condition.

  • The work is a stage set of ten wooden chairs arranged in a circle, facing inwards and communing with one another.  On top of each chair are black tied-up sacks containing coal — a symbolic quality of weight, baggage,and  collective memory. It evokes some theatrical sense that recalls the artist’s experience in working for the stage creating scenographies and his musings on the human condition.

  • The work is a stage set of ten wooden chairs arranged in a circle, facing inwards and communing with one another.  On top of each chair are black tied-up sacks containing coal — a symbolic quality of weight, baggage,and  collective memory. It evokes some theatrical sense that recalls the artist’s experience in working for the stage creating scenographies and his musings on the human condition.

Tubo da mettere tra i fiori

Luciano Fabro

Tubo da mettere tra i fiori

Tube to Place Among Flowers

Steel tube, soil, flowers, plants
1963 – 2001

Courtesy of Archivio Luciano e Carla Fabro

Luciano Fabro (1936-2007) was a prolific artist and a central figure in the expansion and redefinition of sculpture in post-war Italy. Associated with the Arte Povera movement, Fabro made use of unconventional objects such as steel tubes, cloth, and newspapers for his works; although he also employed more expensive materials like gold, marble, and bronze. A major retrospective of Fabro’s works was held at the Reina Sofia in Madrid in 2014.

  • His artwork was originally intended as a site-specific work in a garden in Milan but was never installed. It is a single industrial steel bar in dialogue with nature — camouflaged in the foliage. There are sections peeking through the leaves which provide a shining contrast between the metallic and the organic that makes the man-made more prominent and highlights art as a reworking of nature. It also emphasize the relationship of the natural and artificial.

  • His artwork was originally intended as a site-specific work in a garden in Milan but was never installed. It is a single industrial steel bar in dialogue with nature — camouflaged in the foliage. There are sections peeking through the leaves which provide a shining contrast between the metallic and the organic that makes the man-made more prominent and highlights art as a reworking of nature. It also emphasize the relationship of the natural and artificial.

  • His artwork was originally intended as a site-specific work in a garden in Milan but was never installed. It is a single industrial steel bar in dialogue with nature — camouflaged in the foliage. There are sections peeking through the leaves which provide a shining contrast between the metallic and the organic that makes the man-made more prominent and highlights art as a reworking of nature. It also emphasize the relationship of the natural and artificial.

Lu Prisenti

Alighiero Boetti

Lu Prisenti

The Prisenti

Polychrome satin
1985

Courtesy of Museo della Fondazione Orestiadi – Collezione Museo Civico Ludovico Corrao

Alighiero Boetti (1940-1994) was a conceptual artist recognized as one of the founding members of Arte Povera. His works employ a diverse range of materials and techniques, from ball point pens to textiles and embroidery. Boetti often created textile designs which were woven by artisans and craftspeople from specific geographical locations. Later in his career, he began referring to himself as “Alighiero e Boetti” (Alighiero and Boetti) to signify his duality as an artist.

  • Prisenti are long embroidered drapes made in honor of San Rocco (St. Roche), the patron saint of the town of Gibellina in Sicily. Boetti’s design, which was commissioned for the processions in 1985, features both image and text. The town name is duplicated in black-and-white grids on either end of the drapes, while multicolored squares frame the work’s edges, which give acknowledgement to the artist’s collaboration with Gibellina’s local women artisans. The silhouette of Sicily, with the colourings of the Italian flag, stands out at the center surrounded by the blue of the sea and profiles of various animals—recalling different Mediterranean cultures of which Sicily is the geographic center. The work was later exhibited in the 1993 Venice Art Biennale.

  • Prisenti are long embroidered drapes made in honor of San Rocco (St. Roche), the patron saint of the town of Gibellina in Sicily. Boetti’s design, which was commissioned for the processions in 1985, features both image and text. The town name is duplicated in black-and-white grids on either end of the drapes, while multicolored squares frame the work’s edges, which give acknowledgement to the artist’s collaboration with Gibellina’s local women artisans. The silhouette of Sicily, with the colourings of the Italian flag, stands out at the center surrounded by the blue of the sea and profiles of various animals—recalling different Mediterranean cultures of which Sicily is the geographic center. The work was later exhibited in the 1993 Venice Art Biennale.

  • Prisenti are long embroidered drapes made in honor of San Rocco (St. Roche), the patron saint of the town of Gibellina in Sicily. Boetti’s design, which was commissioned for the processions in 1985, features both image and text. The town name is duplicated in black-and-white grids on either end of the drapes, while multicolored squares frame the work’s edges, which give acknowledgement to the artist’s collaboration with Gibellina’s local women artisans. The silhouette of Sicily, with the colourings of the Italian flag, stands out at the center surrounded by the blue of the sea and profiles of various animals—recalling different Mediterranean cultures of which Sicily is the geographic center. The work was later exhibited in the 1993 Venice Art Biennale.

  • Prisenti are long embroidered drapes made in honor of San Rocco (St. Roche), the patron saint of the town of Gibellina in Sicily. Boetti’s design, which was commissioned for the processions in 1985, features both image and text. The town name is duplicated in black-and-white grids on either end of the drapes, while multicolored squares frame the work’s edges, which give acknowledgement to the artist’s collaboration with Gibellina’s local women artisans. The silhouette of Sicily, with the colourings of the Italian flag, stands out at the center surrounded by the blue of the sea and profiles of various animals—recalling different Mediterranean cultures of which Sicily is the geographic center. The work was later exhibited in the 1993 Venice Art Biennale.

Stella per purificare le parole

Gilberto Zorio

Stella per purificare le parole

Star to purify words

Leather, wood, steel, and rope
1978

Collection of Museo di arte moderna e contemporanea di Trento e Rovereto

Gilberto Zorio (b. 1944) is a contemporary Italian artist known for his sculptures of five-sided stars. Originally trained in painting, he eventually shifted to sculpture, creating works which reveal his fascination for the processes involved in alchemy and the manifestations of energy. Zorio sees his works as “being energy itself,” always living, still in progress, or meant for the future.

  • The artwork is a star made of leather which underwent chemical change by pouring acid on its surface. Attached to the star is a javelin with a single point, a sporting equipment signifying strength and direction. Both star and javelin are suspended from the ground at a seemingly precarious angle. The work juxtaposes the cosmic and the human, and attempts to materialize the often uncertain energies present in both.

  • The artwork is a star made of leather which underwent chemical change by pouring acid on its surface. Attached to the star is a javelin with a single point, a sporting equipment signifying strength and direction. Both star and javelin are suspended from the ground at a seemingly precarious angle. The work juxtaposes the cosmic and the human, and attempts to materialize the often uncertain energies present in both.

  • The artwork is a star made of leather which underwent chemical change by pouring acid on its surface. Attached to the star is a javelin with a single point, a sporting equipment signifying strength and direction. Both star and javelin are suspended from the ground at a seemingly precarious angle. The work juxtaposes the cosmic and the human, and attempts to materialize the often uncertain energies present in both.

La luce illumina e focalizza

Giovanni Anselmo

La luce illumina e focalizza

The light illuminates and focuses

Slide projector
2020

Courtesy of the Artist

Giovanni Anselmo (b. 1934) is a prominent artist associated with the Arte Povera movement. He is known for his sculptures which combine organic and inorganic elements that pose metaphysical questions for the viewer. He has exhibited extensively and participated in a number of Venice Biennales. Anselmo’s works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Castello di Rivoli Museum of Contemporary Art in Turin, among others.

  • The projection of the Italian word ‘particolare’ which means ‘detail’ in English invites the onlooker to become a part of the life of the artwork as the word is illuminated onto the human body.

  • The projection of the Italian word ‘particolare’ which means ‘detail’ in English invites the onlooker to become a part of the life of the artwork as the word is illuminated onto the human body.

  • The projection of the Italian word ‘particolare’ which means ‘detail’ in English invites the onlooker to become a part of the life of the artwork as the word is illuminated onto the human body.

Oltremare appare

Giovanni Anselmo

Oltremare appare

Ultramarine blue appears towards overseas

Paint
2020

Courtesy of the Artist

Giovanni Anselmo (b. 1934) is a prominent artist associated with the Arte Povera movement. He is known for his sculptures which combine organic and inorganic elements that pose metaphysical questions for the viewer. He has exhibited extensively and participated in a number of Venice Biennales. Anselmo’s works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Castello di Rivoli Museum of Contemporary Art in Turin, among others.

  • Ultramarine painted directly onto the museum’s wall, with its textural, sculptural brushstrokes, evoke the ocean surface.

  • Ultramarine painted directly onto the museum’s wall, with its textural, sculptural brushstrokes, evoke the ocean surface.

  • Ultramarine painted directly onto the museum’s wall, with its textural, sculptural brushstrokes, evoke the ocean surface.

La terra si orienta e orienta

Giovanni Anselmo

La terra si orienta e orienta

The earth orientates itself and orients

Soil, compass 
2020

Courtesy of the Artist

Giovanni Anselmo (b. 1934) is a prominent artist associated with the Arte Povera movement. He is known for his sculptures which combine organic and inorganic elements that pose metaphysical questions for the viewer. He has exhibited extensively and participated in a number of Venice Biennales. Anselmo’s works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Castello di Rivoli Museum of Contemporary Art in Turin, among others.

  • The sifted garden soil depicts a topography of a landmass oriented north, indicated by a small compass on one of its mounds.

  • The sifted garden soil depicts a topography of a landmass oriented north, indicated by a small compass on one of its mounds.

  • The sifted garden soil depicts a topography of a landmass oriented north, indicated by a small compass on one of its mounds.

Template 1 – Artwork Details

Name of Artist

Name of Artwork

English translation

Medium
Year

Collection

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Template 1 – List of Artworks

Name of Exhibit

Curator Info
Gallery Info

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  • Name of Artwork

  • Name of Artwork

  • Name of Artwork

  • Name of Artwork

  • Name of Artwork

  • Name of Artwork

  • Name of Artwork

  • Name of Artwork

  • Name of Artwork