Mario Merz: Igloos / Pirelli HangarBicocca, Milan (Italy)
The current exhibition at Pirelli HangarBicocca in Milan, Italy, is dedicated to a crucial body of works in Italian artist Mario Merz's oeuvre, the igloos. Mario Merz conceived the first igloo for a group exhibition in Rome in 1968 and since then produced igloos in various sizes and materials until his death in 2003. The igloo for Mario Merz is a metaphor of the place and space inhabited by humans. His igloos are often made of a metal frame covered in fragments of materials such as clay, glass, stone, jute, and metal.
The exhibition Mario Merz: Igloos at Pirelli HangarBicocca presents over 30 igloos of various sizes and materials, arranged in chronological order (1968-2003). The show is curated by Vicente Todolí in collaboration with Fondazione Merz and runs until February 24, 2019.
Mario Merz: Igloos. Solo exhibition at Pirelli HangarBicocca in Milan, Italy. Press preview, October 23, 2018.
0:01 74 gradini riappaiono in una crescita di geometria concentrica, 1992
0:20 La goccia d'acqua, 1987
1:08 Luoghi senza strada, 1979
1:17 Igloo di Giap, 1968
1:31 Objet cache-toi, 1968
1:44 Evidenza di 987, 1978
2:08 Auf dem Tisch, der hineinstösst in das Herz des Iglu, 1974
2:18 Acqua scivola, 1969
2:34 Is space bent or straight?, 1973
3:05 If the hoar frost grip thy tnet Thou wilt give thanks when night is spent, 1978
3:52 Igloo di Marisa, 1972
4:18 Architettura fondata dal tempo architettura sfondata dal tempo, 1981
5:08 Hoarded centuries to pull up a mass of algae and pearls, 1983
5:49 Tenda di Gheddafi, 1981
6:32 Senza titolo, 1978
7:01 Senza titolo, 1984
7:41 Charo oscuro / oscuro chiaro, 1983
8:11 Senza titolo, 1985
8:51 La casa del giardiniere, 1983-84+1985
9:17 La pianta della vite nella sfera occidentale, 1991
9:46 Sentiero per qui, 1986
10:14 Noi giriamo intorno alle case o le case girano intorno a noi?, 1977
11:13 Senza titolo, 1991
11:36 Senza titolo (Foglie d'oro), 1997
12:10 Senza titolo, 1994
12:37 Spostamenti della terra e della luna su un asse, 2003
13:05 Luoghi senza strada, 1994
13:44 Zeus Lanze, 1995
14:15 Le case girano intorno a noi o noi giriamo intorno alle case?, 1994
15:13 Senza titolo (doppio igloo di Porto), 1998
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Art TV pioneer Vernissage TV provides you with an authentic insight into the world of contemporary fine arts, design and architecture. With its two main series No Comment and Interviews, art tv channel VernissageTV attends opening receptions of exhibitions worldwide, interviews artists, designers, architects. VTV provides art lovers with news, reports and features from the international art scene. VernissageTV: the window to the art world. Das Fenster zur Kunstwelt. La fenêtre sur le monde de l'art. A janela para o mundo da arte. La ventana al mundo del arte. نافذة على عالم الفن. 到艺术世界的窗口。Окно в мир искусства. Since 2005.
Carsten Höller: Doubt. Solo Exhibition at HangarBicocca, Milan (Italy)
In its huge Navate space, Pirelli HangarBicocca presents Carsten Höller's solo exhibition “Doubt”. “Doubt” includes more than twenty works by Carsten Höller, both existent and new. Large-scale installations, videos and photographs play with the spatial and temporal coordinates of the exhibition venue, charting a course between symmetry, duplication and reversal. At the beginning of Carsten Höller's exhibition, the installations Y (2003) and Division Walls (2016) force the visitor to chose one of two routes through the exhibition, that features Carsten Höller's Two Flying Machines (2015), Double Carousel (2011), Yellow/Orange Double Sphere (2016), Two Roaming Beds (Grey) (2015), among others. This video provides you with some ambient shots of the exhibition on the occasion of the opening reception on April 6, 2016.
Carsten Höller: Doubt. Pirelli HangarBicocca, Milan (Italy), Opening Reception, April 6, 2016.
Pirelli HangarBicocca | Art To The People
Pirelli HangarBicocca è una fondazione no profit nata a Milano nel 2004 dalla riconversione di uno stabilimento industriale in un’istituzione dedicata alla produzione e promozione di arte contemporanea.
Luogo dinamico di sperimentazione e ricerca, con i suoi 15.000 metri quadrati è tra gli spazi espositivi a sviluppo orizzontale più grandi d’Europa e ogni anno presenta importanti mostre personali di artisti italiani e internazionali. Ogni progetto espositivo viene concepito in stretta relazione con l’architettura dell’edificio ed è accompagnato da un programma di eventi collaterali e di approfondimento. L’accesso allo spazio e alle mostre è totalmente gratuito e il dialogo tra pubblico e arte è favorito dalla presenza di mediatori culturali. A partire dal 2013 Vicente Todolí è il Direttore Artistico.
L’edificio, un tempo sede di una fabbrica per la costruzione di locomotive, comprende un’area dedicata ai servizi al pubblico e alle attività didattiche e tre spazi espositivi caratterizzati dalla presenza a vista degli elementi architettonici originali del secolo scorso: lo Shed, le Navate, e il Cubo. Le Navate, oltre all’area dedicata alle mostre temporanee, ospitano la celebre opera permanente di Anselm Kiefer, I Sette Palazzi Celesti 2004-2015, che sin dall’inaugurazione delle sue sette torri in cemento armato, ha reso Pirelli HangarBicocca uno dei luoghi da non perdere a Milano.
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Pirelli HangarBicocca is a non-profit foundation, established in 2004, which has converted a former industrial plant in Milan into an institution for producing and promoting contemporary art. This dynamic center for experimentation and discovery covers 15,000 square meters, making it one of the largest contiguous exhibition spaces in Europe. It presents major solo shows every year by Italian and international artists, with each project conceived to work in close relation to the architecture of the complex, and explored in depth through a calendar of parallel events. Admission to the space and the shows is completely free of charge, and facilitators are on hand to help the public connect with the art. Since 2013, Vicente Todolí has been the foundation’s Artistic Director.
The complex, which once housed a locomotive factory, includes an area for public services and educational activities, and three exhibition spaces whose original twentieth-century architectural features have been left clearly visible: Shed, Navate, and Cubo. As well as its exhibitions program and cultural events, Pirelli HangarBicocca also permanently houses one of Anselm Kiefer’s most important site-specific works, The Seven Heavenly Palaces 2004-2015, commissioned for the opening of Pirelli HangarBicocca.
Kishio Suga: Situations / Retrospective at Pirelli HangarBicocca
The exhibition Situations at Pirelli HangarBicocca in Milan (Italy) is the first European retrospective dedicated to Kishio Suga (b. 1944 in Morioka, Japan). For the first time in the career of this pivotal figure in contemporary Japanese art, over twenty of his installations, dating from 1969 to the present, are shown together in the Navate space of HangarBicocca.
Kishio Suga was among the prime movers of Mono-ha (School of Things), an artistic group born in the late 1960s. He began showing his work at a time of great cultural ferment in Japan and international experimentation, marked by movements like Postminimalism and Land Art in the United States and Arte Povera in Italy. Situations brings together a series of pieces the artist has adapted to the industrial architecture of Pirelli HangarBicocca. In keeping with his practice, Suga’s works are presented here as temporary projects which exist for the duration of the show, site-specific in both a spatial and temporal sense.
Kishio Suga: Situations / Retrospective at Pirelli HangarBicocca. Press Preview, September 28, 2016.
#kishiosuga #hangarbicocca #art #contemporaryart #exhibition #milan #vernissagetv
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Art TV pioneer Vernissage TV provides you with an authentic insight into the world of contemporary fine arts, design and architecture. With its two main series No Comment and Interviews, art tv channel VernissageTV attends opening receptions of exhibitions worldwide, interviews artists, designers, architects. VTV provides art lovers with news, reports and features from the international art scene. VernissageTV: the window to the art world. Das Fenster zur Kunstwelt. La fenêtre sur le monde de l'art. A janela para o mundo da arte. La ventana al mundo del arte. نافذة على عالم الفن. 到艺术世界的窗口。Окно в мир искусства. Since 2005.
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Art TV pioneer Vernissage TV provides you with an authentic insight into the world of contemporary fine arts, design and architecture. With its two main series No Comment and Interviews, art tv channel VernissageTV attends opening receptions of exhibitions worldwide, interviews artists, designers, architects. VTV provides art lovers with news, reports and features from the international art scene. VernissageTV: the window to the art world. Das Fenster zur Kunstwelt. La fenêtre sur le monde de l'art. A janela para o mundo da arte. La ventana al mundo del arte. نافذة على عالم الفن. 到艺术世界的窗口。Окно в мир искусства. Since 2005.
Sheela Gowda: Remains. Solo exhibition at Pirelli HangarBicocca
Pirelli HangarBicocca in Milan (Italy) just opened Indian artist Sheela Gowda’s first solo exhibition in Italy. Curated by Nuria Enguita and Lucia Aspesi, the show presents a wide selection of works that Sheela Gowda has made from 1992 to the present time, complemented by an artwork specifically conceived for the exhibition. It includes watercolors, prints, and site-specific installations. For her installations Sheela Gowda uses a large variety of materials such as hair, organic substances, cow dung, incense, and natural pigments. The exhibition runs until September 15, 2019.
Sheela Gowda: Remains. Solo exhibition at Pirelli HangarBicocca. Press View, April 4, 2019.
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Art TV pioneer Vernissage TV provides you with an authentic insight into the world of contemporary fine arts, design and architecture. With its two main series No Comment and Interviews, art tv channel VernissageTV attends opening receptions of exhibitions worldwide, interviews artists, designers, architects. VTV provides art lovers with news, reports and features from the international art scene. VernissageTV: the window to the art world. Das Fenster zur Kunstwelt. La fenêtre sur le monde de l'art. A janela para o mundo da arte. La ventana al mundo del arte. نافذة على عالم الفن. 到艺术世界的窗口。Окно в мир искусства. Since 2005.
HangarBicocca, a Contemporary Art Space in Milan
HangarBicocca is an institution dedicated to the creation and promotion of contemporary art. The space, wholly funded and managed by Pirelli, was founded in Milan in 2004 and is the outcome of a process that led to the conversion of an industrial plant into a venue for art and contemporary culture.
Following restoration work that retained the characteristics and unique aspects of the site, in 2012 HangarBicocca re-launched its programme of exhibitions and events.
With a rich and intense schedule, HangarBicocca presents solo exhibitions by leading international artists distinguished in areas of research and experimentation, focusing particularly on site-specific projects that establish a rapport with the unique characteristics of this space.
about 10 seconds of Miroslaw Balka exhibit - 2, Pirelli Hangar Bicocca, Milan
Miroslaw Balka exhibit, Pirelli Hangar Bicocca, Milan, Italy
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Cerith Wyn Evans al Pirelli Hangar Bicocca di Milano
StarStarStar/Street Cerith Wyn Evans al Pirelli Hangar Bicocca di Milano
Giorgio Andreotta Calò | CITTÀDIMILANO | Pirelli HangarBicocca
Giorgio Andreotta Calò
CITTÀDIMILANO
A cura di Roberta Tenconi / 14 Febbraio - 21 Luglio 2019
Giorgio Andreotta Calò (Venezia, 1979; vive e lavora tra Italia e Olanda) è uno degli artisti italiani più interessanti degli ultimi anni e ha rappresentato l’Italia alla 57ma Biennale di Venezia (2017). Le sue opere comprendono sculture, installazioni ambientali di larga scala e interventi spaziali che trasformano architetture o interi paesaggi e sono spesso concepite per essere incluse in un ricco sistema di rimandi e collegamenti tra di loro, anche attraverso l’uso di elementi naturali densi di significati simbolici – come l’acqua, la luce e il fuoco.
Il suo lavoro affonda le radici in alcune pratiche concettuali e processuali tipiche degli artisti degli anni Sessanta e Settanta per poi aprirsi a nuove evoluzioni ed è il risultato di un lungo processo di ricerca sui materiali – da quelli classici, come bronzo e legno, ad altri più inusuali come ad esempio il caranto, lo strato argilloso sottomarino su cui sorge la città di Venezia –, sulle tecniche di lavorazione e sulla loro origine. Il suo interesse per i materiali organici avvicina le sue opere agli attuali dibattiti internazionali sull’utilizzo e dispersione delle materie prime e ai temi sui cambiamenti socio-ecologici.
Parte integrante della sua metodologia artistica è la costante rielaborazione e riconfigurazione delle sue opere in base al contesto geografico e culturale in cui vengono esposte: per CITTÀDIMILANO l’artista si concentra sulla sua pratica scultorea, presentando in stretto dialogo lavori realizzati dal 2008 a oggi e qui concepiti come parte di un unico paesaggio, che trasforma la percezione dell’ambiente ed evidenzia i legami che intercorrono tra le opere stesse.
Per l’occasione Giorgio Andreotta Calò ha inoltre compiuto ricerche sulla storia della società Pirelli, concependo appositamente nuove opere, che portano alla luce narrazioni inedite del passato, come quella del relitto del piroscafo Città di Milano – da cui l’intera esposizione prende il titolo.
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Giorgio Andreotta Calò
CITTÀDIMILANO
Curated by Roberta Tenconi / 14 February - 21 July 2019
Giorgio Andreotta Calò (Venice, 1979; he lives and works in Italy and the Netherlands) is one of the most remarkable Italian artists of recent years and represented Italy at the 57th Venice Biennale (2017). His works include sculptures, large-scale site-specific installations and spatial works that transform both fragments of buildings and entire landscapes; they are often designed to be included in a rich patchwork of self-referencing connections, in part through the use of natural elements dense with symbolic meanings, such as water, light and fire.
His work is rooted in conceptual and processual practices typical of artists of the Sixties and Seventies but it also evolves into new directions. It always comes as the result of a long process of research into materials—from the more classical, such as bronze and wood, to the more unusual, such as caranto clay, the submarine layer beneath the city of Venice—, processing techniques and their origin. His interest in organic materials links his works to current international debates on the use and dispersal of raw materials and themes of socio-ecological change.
The constant re-elaboration and reconfiguration of his works based on the geographical and cultural context in which they are exhibited is an integral part of his artistic methodology. For CITTÀDIMILANO the artist focuses on his sculptural practice, displaying works created since 2008, and here conceived as part of a single landscape that transforms the perception of the environment and highlights the links existing between the artworks in a close dialogue.
Giorgio Andreotta Calò has also carried out research into the history of the Pirelli Company, creating new works that bring to light previously unknown stories from the past, such as the one of the wreck of the steamship Città di Milano [City of Milan] from which the exhibition takes its name.
I Sette Palazzi Celesti - Anselm Kiefer - Pirelli HangarBicocca
I Sette Palazzi Celesti di Anselm Kiefer è un'installazione permanente al Pirelli HangarBicocca a Milano
Exibition: I Sette Palazzi Celesti Anselm Kiefer at Pirelli HangarBicocca in Milan
Exibition: I Sette Palazzi Celesti Anselm Kiefer at Pirelli Hangar Bicocca in Milan. Traveling with Me. Some small videos around the world. HD Video. February 2017
【VLOG 03】Pirelli HangarBicocca-Milan Part2 | 和菜菜去Bicocca逛两个展
1.Lucio Fontana
2.Take Me (I'm Yours)
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Leonor Antunes | the last days in Galliate | Pirelli HangarBicocca
Leonor Antunes
the last days in Galliate
A cura di Roberta Tenconi / 14 Settembre 2018 - 13 Gennaio 2019
Video: Francesco Margaroli
“the last days in Galliate” è la prima grande mostra personale in Italia dedicata a Leonor Antunes, concepita come una complessa installazione site-specific che invade i 1.400 metri quadrati dello Shed di Pirelli HangarBicocca: le opere, di cui molte nuove produzioni, entrano in dialogo con gli elementi strutturali dello spazio e con la luce naturale per confluire in un’unica narrazione.
Milano e la sua ricca tradizione modernista, in particolare il lavoro degli architetti Franca Helg (1920-1989) e Franco Albini (1905-1977), costituiscono una fonte di grande ispirazione per l’artista che intreccia le loro storie al retaggio culturale di aziende come Pirelli e Olivetti e ai progetti realizzati in collaborazione con la casa manifatturiera Vittorio Bonacina – l’odierna Bonacina1889 – tutt’oggi attiva nella produzione di mobili ed elementi di arredo in giunco e midollino. Lo Shed viene completamente trasformato da un intervento che copre l’intero pavimento con un intarsio in linoleum, ispirato a una stampa della designer Anni Albers (1899-1994), riproponendo nelle cromie l’iconica pavimentazione realizzata nel 1960 per il grattacielo Pirelli dall’architetto e designer Gio Ponti (1891-1979).
Leonor Antunes, interrogandosi sul significato degli oggetti di uso quotidiano e sul ruolo sociale dell’arte e del design come mezzi di emancipazione e di miglioramento della qualità della vita, crea nello spazio espositivo di Pirelli HangarBicocca un complesso e stratificato racconto visivo che guida il visitatore all’interno di un’inedita coreografia.
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Leonor Antunes
the last days in Galliate
Curated by Roberta Tenconi / 14 September 2018 - 13 January 2019
Video: Francesco Margaroli
“the last days in Galliate” is the first major exhibition in Italy of the work of Leonor Antunes, conceived as a complex site-specific installation that fills the 1,400 square meters of the space known as the Shed in Pirelli HangarBicocca: the works, many of which are new productions, converse with the context structural elements and natural lighting, thus merging in a single narrative.
Milan and its rich Modernist tradition, in particular the work of architects Franca Helg (1920-1989) and Franco Albini (1905-1977), are the source of great inspiration for this artist, who weaves these tales with the cultural heritage of companies as Pirelli and Olivetti and the projects realized with the manufacturing house Vittorio Bonacina—today known as Bonacina1889—active in the production of furniture and other items made with rattan and rattan-core. The Shed is transformed by an intervention that covers the floor with a linoleum intarsia, inspired by a design by artist Anni Albers (1899-1994), whose colours hark back to the iconic floor designed by the architect and designer Gio Ponti (1891-1979), realized in 1960 for the Pirelli skyscraper in Milan.
By inquiring into the meaning of everyday life objects and the social role of art and design as means of emancipation and improvement of quality of life, Leonor Antunes creates within the Pirelli HangarBicocca exhibition space a complex and stratified visual tale that leads the visitor through an unedited choreography.
Cerith Wyn Evans | “....the Illuminating Gas” | Pirelli HangarBicocca
Cerith Wyn Evans
“....the Illuminating Gas”
A cura di Roberta Tenconi e Vicente Todolí / 31 Ottobre 2019 - 23 Febbraio 2020
Concepita come una composizione armonica di luce, energia e suono, “….the Illuminating Gas” è la più grande mostra mai realizzata da Cerith Wyn Evans (Llanelli, Galles, Regno Unito, 1958; vive e lavora a Londra) e presenta una straordinaria selezione di ventiquattro opere tra sculture storiche, complesse installazioni monumentali e nuove produzioni, che offrono ai visitatori un’esperienza sinestetica unica.
Dopo gli esordi come filmmaker, dagli anni Novanta Cerith Wyn Evans si dedica alla realizzazione di sculture, interventi site specific e perfomativi che si caratterizzano per l’utilizzo di elementi e materiali effimeri come la luce e il suono, e per la centralità della dimensione temporale nella fruizione dell’opera. La ricerca dell’artista si focalizza sulla percezione, sul potenziale del linguaggio e della comunicazione, mettendo in discussione la nostra nozione di realtà.
Nella loro eleganza ed equilibrio formale, i lavori di Cerith Wyn Evans attingono a una complessità di riferimenti e citazioni – dalla letteratura, alla musica, filosofia, fotografia, poesia, storia dell’arte, astronomia e scienza – che vengono declinati in forme del tutto nuove attraverso un articolato processo di montaggio. Questa operazione avviene sia attraverso l’impiego di materiali testuali che, decontestualizzati, vengono tradotti in un linguaggio luminoso – ad esempio sotto forma di scritte al neon, fuochi d’artificio o pulsazioni di luce – sia trasponendo in sculture l’immaginario di artisti storici, come Marcel Duchamp, o il repertorio di gesti del teatro giapponese Noh, come nella serie Neon Forms (after Noh) (2015-2019).
Il progetto espositivo include una nuova configurazione di Forms in Space…by Light (in Time) (2017), originariamente concepita per le Duveen Galleries della Tate Britain di Londra e StarStarStar/Steer (totransversephoton) (2019), opera appositamente realizzata per la mostra, che ne apre il percorso creando una coreografia di luci e ombre che a intermittenza invadono lo spazio.
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Cerith Wyn Evans
....the Illuminating Gas”
Curated by Roberta Tenconi and Vicente Todolí / 31 October 2019 - 23 February 2020
Conceived as a harmonious composition of light, energy, and sound, “….the Illuminating Gas” is the largest-ever solo exhibition by Cerith Wyn Evans (Llanelli, Wales, UK, 1958; lives and works in London) and it presents a selection of twenty-four works—earlier sculptures, complex monumental installations, and new productions—offering visitors a unique synesthetic experience.
As of the 1990s, the artist abandoned film altogether, and concentrated on creating sculptures, installations, photographs, and site-specific or performative interventions, which are characterized by the use of ephemeral elements such as light and sound, as well as by the centrality of the temporal dimension in the experience of a work. Cerith Wyn Evans’s research focuses on language and perception, on the potential of the word and the communication, questioning our very notion of reality.
In their elegance and formal balance, his works draw on a complex body of references and quotations—from literature, music, philosophy, photography, poetry, art history, astronomy and science—that are declined into new forms through an articulate process of transformation. This operation takes place both through the use of textual materials that are decontextualized and translated into a language of light—for example, in the form of neon signs, fireworks or light pulses—and transposing into sculptures the imagery of earlier artists—such as Marcel Duchamp—or the movements of actors in Japanese Noh theatre, as in the series Neon Forms (after Noh) (2015-2019).
The exhibition includes a new configuration of Forms in Space…by Light (in Time) (2017), a work originally conceived for the Duveen Galleries of the Tate Britain in London, and StarStarStar/Steer (totransversephoton) (2019), made specifically for the occasion, opening the show and creating a choreography of lights and shadows that intermittently invades the space.
Mario Merz | Igloos | Pirelli HangarBicocca
Mario Merz
Igloos
A cura di Vicente Todolí / 25 Ottobre 2018 - 24 Febbraio 2019
In collaborazione con Fondazione Merz
“Igloos”, la mostra dedicata a Mario Merz (Milano, 1925-2003), tra gli artisti più rilevanti del secondo dopoguerra, riunisce il corpus delle sue opere più iconiche, gli igloo, datati tra il 1968 e l’anno della sua scomparsa.
Il progetto espositivo, curato da Vicente Todolí e realizzato in collaborazione con la Fondazione Merz, si espande nelle Navate di Pirelli HangarBicocca e pone il visitatore al centro di una costellazione di oltre trenta opere di grandi dimensioni a forma di igloo, un paesaggio inedito dal forte impatto visivo.
Mario Merz, figura chiave dell’Arte Povera, indaga e rappresenta i processi di trasformazione della natura e della vita umana: in particolare gli igloo, visivamente riconducibili alle primordiali abitazioni, diventano per l’artista l’archetipo dei luoghi abitati e del mondo e la metafora delle diverse relazioni tra interno ed esterno, tra spazio fisico e spazio concettuale, tra individualità e collettività. Queste opere sono caratterizzate da una struttura metallica rivestita da una grande varietà di materiali di uso comune, come argilla, vetro, pietre, juta e acciaio – spesso appoggiati o incastrati tra loro in modo instabile – e dall’uso di elementi e scritte al neon.
La mostra offre l’occasione per osservare lavori di importanza storica e dalla portata innovativa, provenienti da collezioni private e museali internazionali, raccolti ed esposti insieme per la prima volta in numero così ampio.
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Mario Merz
Igloos
Curated by Vicente Todolí / 25 October 2018 - 24 February 2019
In collaboration with Fondazione Merz
“Igloos”, an exhibition dedicated to Mario Merz (Milan, 1925–2003)—one of the most relevant post-war artists—brings together his most iconic group of works, the igloos, dating from 1968 until the end of his life. Curated by Vicente Todolí, and realized in collaboration with Fondazione Merz, the exhibition spans the whole space of the Navate of Pirelli HangarBicocca, placing the visitor at the heart of a constellation of over 30 large-scale works in the shape of an igloo: an unprecedented landscape of great visual impact.
A key figure of Arte Povera, Mario Merz investigates and represents the processes of transformation of nature and human life: in particular the igloos, visually traceable to primordial habitations, become for the artist the archetype of inhabited places and of the world, as well as a metaphor for the various relationships between interior and exterior, between physical and conceptual space, between individuality and collectivity. These pieces are characterized by a metal structure coated in a great variety of common materials, such as clay, glass, stone, jute, and steel—often leaning or intertwined in an unstable fashion—and by the use of neon elements and wording.
The exhibition provides an overview of Mario Merz’s work, of its historical importance and great innovative reach: gathered from private collections and international museums, the igloos will be displayed together in such a large number for the first time.
Pirelli Hangar Bicocca in Milan
In Agneta’s Sight: a short overview of Hangar Bicocca with installations by Anselm Kiefer, Sheela Gowda and Giorgio Andreotta Caló
Pirelli HangarBicocca
Lucio Fontana
Ambienti/Environments
Moby Dick | A performance by Damián Ortega @hangarbicocca
Moby Dick
3 June 2015
HangarBicocca, Milan
A performance by Damián Ortega
Pirelli HangarBicocca
Lucio Fontana
Ambienti/Environments
Pirelli HangarBicocca
Lucio Fontana
Ambienti/Environments