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The exhibition Mario Merz. Igloo opened on the 25 October 2018, with which Pirelli Hangar Bicocca decided to open its own exhibition season. After last year’s Ambienti Spaziali success dedicated to Lucio Fontana, Pirelli turns his attention once again to one of the great masters of Italian art of the second half of the twentieth century: Mario Merz.


Mario Merz - La goccia d'acqua, 1987 - Installation view

The exhibition, curated by Vicente Todolì and organized in collaboration with the Merz Foundation, presents the iconic body of works of the Igloos realized by the poor artist between 1968 and 2003. The principle of grouping that is the basis of the exhibition, resumes ideally the exhibition project, curated by Harald Szemann, realized in 1985 at the Kunsthaus in Zurich. On that occasion, a personal exhibition dedicated to Merz was presented, which gathered almost 20 Igloos, considered, yesterday as today, emblematic of the artistic production, in the desire to create a sort of “village”, “constellation” to be travelled by the visitor. In the spaces of Pirelli Hangar Bicocca this constellation has now been extended to 30 works, a result due to the long period of time taken into account, which makes the exhibition as the biggest retrospective on the artist till now.


Mario Merz - Igloo di Giap, 1968 - Installation view - Pirelli Hangar Bicocca, 2018

The exhibition itinerary is developed by a chronological trend with the exception of two works: La goccia d’acqua (1987) and Senza Titolo (doppio igloo di Porto) (1998) were placed respectively at the opening and closing of the exhibition. La goccia d’acqua occupies the large initial space of the visit: it’s in fact, the biggest igloo realized by Merz for a museum space, so it needed an exhibition choice that would contain and highlight certain dimensions. The structure has a hemispherical metal soul completely covered by glasses and neon numbers and crossed by a triangular table at the top of which there is a tap from which some water drips. Positioned in the large and silent spaces of Hangar Bicocca, the work has a great visual and auditory impact: the latter is in fact stimulated by the continuous flow of water that transports us to another world, in a different temporality from the outside, anticipating a “flow of time” that seems to be a trait d’union within the exhibition. Continuing the path we meet Igloo di Giap (1968), the first igloo realized by the artist, which if on the one hand represents a point of arrival of the experiment of the ‘60s aimed to overcoming the two-dimensionality of the canvas, on the other hand is a starting point for a new investigation on the form, in this case of the igloo, that will be carried out in the light of this conquest of three-dimensionality, for over forty years. This is the starting point of the unfolding of the igloos, which literally inhabit the space according to a rhythmic trend determined by their diversity of dimensions and materials. It’s interesting to see how in the heterogeneity of the works, they find their unity and coherence not only in their being clearly igloo, but also in their adherence to the temporal element. The latter echoes throughout the exhibition: on the one hand, for the chronology of the works in which one continually runs, and on the other hand for the focus on the speed of the flow of time which, an intrinsic element of many works, is expressed in the sequences of numbers belonging to the Fibonacci Series. This one, which Merz has always considered as a visualization of speed, of the energy that is at the base of every natural growth phenomenon, is also a visualization of time linking these works even more to their being the result of a temporal process. To strengthen this principle there is the presence on the top of the right wall of the nave of some numbers that so arranged, seem, with all their “weight”, collect under itself this “constellation” of igloos.


Mario Merz. Igloos

Period: 25 October 2018 – 24 February 2019.

Opening hours: from Monday to Wednesday: closed. From Thursday to Sunday: 10-22

Where: Pirelli Hangar Bicocca

Via Chiese, 2, 20126 Milano MI


- Giulia Zompa

Mario Merz - Senza Titolo, 1985 - Installation view - Pirelli Hangar Bicocca, 2018

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Ha inaugurato il 25 Ottobre 2018 la mostra Mario Merz. Igloo con cui Pirelli Hangar Bicocca ha deciso di aprire la propria stagione espositiva. Dopo la fortuna dello scorso anno di Ambienti Spaziali dedicata a Lucio Fontana, Pirelli rivolge nuovamente la sua attenzione ad uno dei grandi maestri dell’arte italiana della seconda metà del Novecento: Mario Merz.



La mostra, curata da Vicente Todolí e realizzata in collaborazione con la Fondazione Merz, presenta l’iconico corpus di opere degli Igloo realizzato dall’artista poverista tra il 1968 e il 2003. Il principio di raggruppamento che sta alla base della mostra riprende idealmente il progetto espositivo, curato da Harald Szeemann, realizzato nel 1985 alla Kunsthaus di Zurigo. In tale occasione venne presentata una mostra personale dedicata a Merz che raccoglieva quasi 20 Igloo, considerati, ieri come oggi, emblematici della sua produzione artistica, nella volontà di formare una sorta di “villaggio”, “costellazione” da far percorrere al visitatore. Negli spazi di Pirelli Hangar Bicocca questa costellazione si è oggi ampliata a 30 lavori, un risultato dovuto all’ampio arco temporale preso in considerazione, che pone la mostra come la più grande retrospettiva fino ad ora realizzata sull’artista.


Mario Merz - Igloo di Giap, 1968 - Installation view - Pirelli Hangar Bicocca, 2018

ll percorso espositivo si sviluppa secondo un andamento cronologico fatta eccezione per

due opere: La goccia d’acqua (1987) e Senza Titolo (doppio igloo di Porto) (1998) poste rispettivamente ad apertura e chiusura della mostra.

La goccia d’acqua occupa il grande spazio iniziale della visita: è infatti il più grande igloo realizzato da Merz per uno spazio museale, pertanto necessitava di una scelta espositiva che ben contenesse e mettesse in luce certe dimensioni. La struttura presenta un’anima semisferica in metallo completamente ricoperta da vetri e numeri al neon e attraversata da un tavolo triangolare al cui vertice si trova un rubinetto dal quale gocciola dell’acqua. Posizionata nei grandi e silenziosi spazi di Hangar Bicocca l’opera in questione risulta di grande impatto visivo e uditivo: quest’ultimo è infatti sollecitato dallo scorrere continuo dell’acqua che ci trasporta in un mondo altro, in una temporalità differente da quella esterna, anticipando uno “scorrere del tempo” che sembra porsi come trait d’union all’interno della mostra.

Continuando il percorso si incontra Igloo di Giap (1968), primo igloo realizzato dall’artista, che se da una parte rappresenta un punto di arrivo nei confronti delle sperimentazioni degli anni ’60 tese a superare la bidimensionalità della tela, dall’altra si pone come punto di partenza per una nuova indagine sulla forma, in questo caso dell’igloo, che sarà portata avanti, alla luce di questa conquista della tridimensionalità, per ben quarant’anni. Da qui il via al dispiegarsi degli igloo che vanno ad letteralmente ad abitare lo spazio secondo un andamento ritmico determinato dalla loro diversità di dimensioni e materiali. E’ interessante vedere come nell’eterogeneità dei lavori, questi riescano a trovare una loro unità e coerenza non solo nel loro essere chiaramente igloo ma anche nell’aderenza all’elemento temporale.

Quest’ultimo riecheggia infatti in tutta la mostra: da una parte per la cronologia delle opere in cui continuamente si incorre, dall’altra per il focus sulla velocità dello scorrere del tempo che, elemento intrinseco di molti lavori, si esplicita nelle sequenze di numeri appartenenti alla Serie di Fibonacci. Questa, da sempre considerata da Merz come visualizzazione della velocità, dell’energia che sta alla base di ogni fenomeno di crescita naturale, si pone come visualizzazione anche del tempo legando ancor più queste opere al loro essere frutto di un processo, appunto, temporale. A rafforzare questo principio è la presenza sulla sommità della parete destra della navata di alcuni numeri che così disposti sembrano, con tutto il loro “peso”, raccogliere sotto di sé questa “costellazione” di igloo.

Mario Merz. Igloos

Periodo:  25 Ottobre 2018 - 24 Febbraio 2019 Orario di apertura: da lunedì a mercoledì: chiuso. Da giovedi a domenica: 10-22

Dove: Pirelli Hangar Bicocca

Via Chiese, 2, 20126 Milano MI https://www.hangarbicocca.org


- Giulia Zompa


Mario Merz - Senza Titolo, 1985 - Installation view - Pirelli Hangar Bicocca, 2018


138 visualizzazioni

The Paris of Giacometti arrives in Cecina: more than 150 original lithographs by the Swiss master and a selection of photographs will be exhibited from December 1, 2018 to February 24, 2019 at the spaces of the Geiger Foundation.

Litografia 045 - Alberto Giacometti - ©Museum - Giacometti

"Paris sans fin. Original lithographs by Alberto Giacometti" is the title of the exhibition held at the Geiger Foundation in Cecina.

After the Basel exhibition that investigated the relationship and mutual influences with Francis Bacon, the exhibition curated by Klaus Littman shows 150 lithographs made by the Swiss artist between the late fifties and mid-sixties. A trip to mid-twentieth-century Paris, through the personal reading of one of the most important artists of the last century.

Swiss sculptor, painter and engraver, Alberto Giacometti is the author of works capable of investigating the human soul in depth, starting with the thin and solitary sculptures, a tangible expression of fragility, loneliness, but also the pride of the man of the twentieth century.

The exhibition takes its title from the editorial work that has collected the lithographs dedicated to Paris, where Giacometti moved for the first time in 1922: "Paris sans fin" is in fact the artist's book born from the initiative of the Greek-Parisian friend Emanuel Tériade, one of the leading art publishers of the twentieth century, who published artist's books such as "Jazz" by Henri Matisse and "Cirque" by Fernand Léger.

A fundamental work, considered the culmination of his graphic work but also his artistic testament: made between difficulties and interruptions from 1958 to 1965 was in fact published posthumously in 1969, in a circulation of only 250 copies.

A text by the same artist should have accompanied the images, but Giacometti could not finish it, and it is included unfinished.

Litografia 123 - Alberto Giacometti - ©Museum - Giacometti

The 150 works exhibited at Cecina come from the collection of Carlos Gross, one of the largest collections of lithographs by Giacometti at the international level and are enriched by a selection of photographs by Ernst Scheidegger, friend of the artist, who for two decades has documented his work in the atelier.

The inauguration is scheduled for Saturday, December 1 at 17:00. The exhibition will be open to the public until Sunday, February 24, 2019, from 16:00 to 20:00, with free admission.

After this Italian stop it will move first to Austria and then fly overseas, to be exhibited in the United States.

"Paris sans fin. Original lithographs by Alberto Giacometti" is therefore an opportunity to admire an important extract from Giacometti's work as an engraver, and also as an imaginary bridge between the Switzerland of the artist, famous for his elongated and suffering figures and that of the pharmacist to whom the foundation is named.

The Hermann Geiger Foundation was established in 2009 to pay tribute to the Swiss pharmacist and homeopath from Basel. Promoter of cultural activities, social promotion and enhancement of the territory, it has organized and hosted a long series of temporary exhibitions, dedicated to the art of the twentieth century, with names such as Ernst Ludwig Kirchner, Hermann Hesse, Jean Tinguely, but also to the cinema, to the discovery of distant cultures, to travel in space or through the seas, to the iconic objects of everyday life, such as chess, toys or fans.


Paris sans fin. Original lithographs by Alberto Giacometti

Period: 1 December 2018 - 24 February 2019

Opening hours: every day from 16 to 20

Hermann Geiger Cultural Foundation

Piazza Guerrazzi 32, Cecina (LI)

Free entrance

https://www.fondazionegeiger.org/en/


- Chiara Beni



Litografia 096 - Alberto Giacometti - ©Museum - Giacometti


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