正在展出 | 玛丽莎·梅尔兹（Marisa Merz）纽约大都会艺术博物馆布劳耶分馆（The Met Breuer）个展
正在展出
玛丽莎·梅尔兹 Marisa Merz
《天空是一个伟大的空间》The Sky is a Great Space
纽约大都会艺术博物馆布劳耶分馆｜ 纽约
The Met Breuer, New York
展期：2017年01月24日－05月07日
▲《生活雕塑》Living Sculpture, 1966，铝 Aluminum
纽约大都会艺术博物馆布劳耶分馆（The Met Breuer）正在展出意大利画家、雕塑家和装置艺术家玛丽莎·梅尔兹（1926年出生于意大利都灵）在美国的首个大型回顾展。"玛丽莎·梅尔兹: 天空是一个伟大的空间"汇集了梅尔兹五十年艺术创作不同阶段的多件重要作品，将全面地展示梅尔兹超凡的才华和影响力。展览中的作品既包含了梅尔兹早期对非传统艺术材料和工艺的实验，还含括了她在职业生涯中期创作的探索于私密性和庞大体量之间的平衡关系的装置作品，以及梅尔兹在1975年之后创作的神秘头像系列。
▲《无题》Senza titolo, 无日期 Undated, 纸上石墨与金属颜料 Graphite and metallic paint on paper, 43.7x 31.2 cm
▲《无题》Senza titolo, 无日期 Undated, 布上石墨、金属颜料、蛋彩 Graphite, metallic paint, and tempera on canvas, 24x 18 x 1.7 cm
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
梅尔兹因作为二十世纪六十年代“贫穷艺术”（Arte Povera）运动的艺术家之一而获得了国际知名度。这一前卫的艺术运动反对意大利战后对物质财富的普遍崇拜，偏向于使用与“贫穷”相关的朴素材料。“贫穷艺术”通常被与激进的学生运动联系在一起，它宣称不秉承任何风格或意识形态上的信条——除了坚决排斥既定的规则和艺术世界的限制。作为“贫穷艺术”运动中唯一的女性代表艺术家，同时也是当时为数不多的曾在国际知名美术馆展出作品的意大利女性艺术家，梅尔兹的实践也显露了性别和文化差异在特定语境下带来的影响。梅尔兹这些极具挑战性并唤起记忆的作品，体现了艺术家高度个人化的创作风格，也反映了她明确地反对职业化创作的倾向。作品所呈现的效果和视野，远远超越了艺术家偶尔在体量上的克制选择。最终，梅尔兹的作品既映现了她的个人经历，也成为了她对同时代艺术家的艺术创作所作出的回应。她极具开创性的艺术实践根植于她对艺术与生活的同等热情，而这正是当代艺术创作的核心。
▲《无题》Senza titolo, 无日期 Undated, 宣纸上金属颜料、粉彩、胶带 Metallic paint, pastel, andadhesive tape on rice paper, 46 x 34 cm
▲《无题》Senza titolo, 无日期 Undated, 纸上石墨、炭笔、金属颜料 Graphite, charcoal, and metallic paint on paper, 100 x 71 cm
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
▲《无题》Senza titolo, 无日期 Undated, 综合材料、胶带、金属、镜子 Mixed media with adhesive tape on metal, mirror, 220 x 110 x 130 cm
梅尔兹的全部作品以令人难以置信的广度和毫不妥协的持续性而饱受赞誉。它们常常捕捉着那些瞬息即逝的存在体验，也打破了公共与私人空间之间的界限。她的早期作品围绕着她个人的家庭生活展开，其中包括“未命名（生活雕塑）”中的一系列作品——梅尔兹在六十年代中期最初悬挂于自己的厨房天花板上的柔软但边缘尖锐的金属板缠绕物，以及她用铜线和织针等非传统艺术材料制作的一系列精致而强有力的物件。七十年代中期，梅尔兹开始雕刻一系列小型头像。这组头部（Teste）雕塑由未经烧制的粘土制作成粗糙的模型，有时会被涂以发光颜料或被镀金，并用蜡封存。它们如今已成为了艺术家和她近期创作的作品中最具象征性的代表作。此外，这些头部雕塑也预示了向具象艺术这一二十世纪八十年代意大利艺术核心形式的回归。尽管这似乎偏离了梅尔兹的早期作品中的抽象性，但梅尔兹的头部雕塑和与此相关的类似于珠宝的纸上肖像画，依旧彰显了梅尔兹对于线条的可能性所作出的孜孜不倦的探索，也为我们提供了了解艺术家创作轨迹的索引。
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
本次展览由纽约大都会艺术博物馆和洛杉矶汉姆博物馆共同筹备策划。
“玛丽莎·梅尔兹：天空是一个伟大的空间”由汉默博物馆（Hammer Museum)总策展人康妮·布特勒（Connie Butler）和纽约大都会艺术博物馆现当代艺术部副策展人彦·阿尔菲尔（Ian Alteveer）共同策划。
伴随本次展览将推出由洛杉矶汉默博物馆出版的展览画册。展览和出版物同时得到了图灵梅尔兹基金会的大力支持和合作。
▲《无题》Senza titolo, 无日期 Undated, 纸上石墨、金属颜料、彩色铅笔 Graphite, metallic paint, colored pencil onpaper, 33.7 x 40.6 cm
▲《无题》Senza titolo, 无日期 Undated, 纸上石墨 Graphite on paper, 35 x 25 cm
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
The Met Breuer presents the first major retrospective in the United States of the Italian painter, sculptor, and installation artist Marisa Merz (born Turin, Italy, 1926). Marisa Merz: The Sky Is a Great Space brings together five decades of work to explore Merz’s prodigious talent and influence. The exhibition features her early experiments with nontraditional art materials and processes, her mid-career installations that balance intimacy with impressive scale, and the enigmatic portrait heads she created after 1975.
The exhibition is organized by The Metropolitan Museum of Art, New York, and the Hammer Museum, Los Angeles.
▲《无题》Senza titolo, 无日期 Undated, 纸上石墨 Graphite on paper, 30 x 21 cm
▲《无题》Senza titolo, 无日期 Undated, 纸版上石墨、粉彩 Graphite and pastel on cardboard, 30.5 x 22 cm
▲《无题》Senza titolo, 无日期 Undated, 油漆、粉彩、金属颜料、胶带、金属夹子、宣纸 Enamel, pastel, metallic paint, adhesive tape, and binder clip on rice paper, 252 x 252 cm
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
Merz gained international prominence as part of the circle of artists associated with Arte Povera in the 1960s. An avant-garde movement that rejected Italy’s postwar material wealth in favor of “poor” materials, Arte Povera was identified with the radicalism of the student movement but proclaimed no stylistic or ideological credo except the negation of existing codes and art world limitations. As the sole female protagonist of the movement and one of the few Italian women at the time to present her work in major international venues, she showed a practice that was inflected by gender and cultural differences. Merz’s challenging and evocative body of work was deeply personal and decidedly anticareerist. Its consequence and scope also exceeded its occasionally diminutive scale. Ultimately, Merz’s work was as much a response to her own experience as it was to the art of her contemporaries, and her pioneering practice exists in the interstices between art and life that has become so central to contemporary art making.
▲《无题》Senza titolo, 无日期 Undated, 未焙烧的粘土、图钉、铜丝、颜料、金属颜料 Unfired clay, thumbtacks, copper wire, paint, and metallic paint, 15 x 17 x 11 cm
▲《无题》Senza titolo, 无日期 Undated, 未焙烧的粘土、蜡、铅、颜料 Unfired clay, paraffin, lead, and pigment, 16 x 12 x 9 cm
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
Merz’s oeuvre, distinguished by incredible range and uncompromising consistency, often crystallizes the ephemeral and breaks down barriers between public and private space. Her early works started as an expansion of her domesticity, including the group of works in Untitled (Living Sculptures), soft yet sharp-edged tangles of sheet metal that first hung from the ceiling of her kitchen in the mid-1960s, and the group of delicate but powerful objects Merz made from nontraditional materials such as copper wire and knitting needles. In the mid-1970s, the artist began sculpting a series of small heads. Roughly modeled in unfired clay, sometimes coated with luminous pigments or gilding, and encased in wax, these Teste [Heads] have become emblematic of the artist and her more recent work. They also anticipate the return to figuration that was central to Italian art of the 1980s. Though seemingly a departure from the abstract nature of her early work, her Teste and the related, jewel-like portraits on paper demonstrate Merz’s lasting engagement with the possibilities of line as well as the indexical trace of the artist.
▲《无题》Senza titolo, 1975, 铁丝、尼龙线 Iron wire and nylon thread, 28 x 28 cm
▲ 展览现场：玛丽莎·梅尔兹《天空是一个伟大的空间》 纽约大都会艺术博物馆布劳耶分 / 图片来自纽约大都会博物馆
“Marisa Merz: The Sky Is a Great Space” at The Met Breuer, New York. Courtesy of The Metropolitan Museum of Art
Marisa Merz: The Sky Is a Great Space is curated by Connie Butler, Chief Curator, Hammer Museum, and Ian Alteveer, Associate Curator, Department of Modern and Contemporary Art, The Metropolitan Museum of Art.
The exhibition is accompanied by a catalogue published by the Hammer Museum, Los Angeles. The exhibition and publication were developed in close collaboration with Fondazione Merz, Turin.
▲《无题》Senza titolo, 无日期 Undated, 未焙烧的粘土、粉彩、金属颜料、颜料 Unfired clay, pastel, metallic paint and paint, 20 x 18 x 11 cm
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