Curator Ian Altveer during the interview with i-Italy at The MET Breuer
“Living Sculpture,” in aluminum sheeting on view at The MET Breuer
A detail of Marisa’s Turin studio, photographed last year. Two of her recent works are visible. Photograph by Renato Ghiazza, courtesy the artist and Fondazione Merz
Beatrice, Mario and Marisa at the 37th Biennale di Venezia in 1976. Photograph by Giorgio Colombo, Milan; courtesy the artist and Fondazione Merz
"Living Sculputers" (1966). Ahead of an exhibition at the Met Breuer celebrating the artist Marisa Merz’s five-decade career;
“Bea,” by Marisa Merz- It’s not possible to associate Marisa Merz with any artistic avantgarde. There’s a lot of ambiguity regarding how involved she felt in the sphere of Arte Povera, even though she participated in some shows with her husband Mario
“Altalena per Bea” (“Swing for Bea”, 1968), that Beatrice and her friends would play with. Credit Photograph by Paolo Pellion, courtesy the artist and Fondazione Merz
“Testa (Head),” a sculpture (1984-1995)- Curator Ian Altveer during the interview with i-Italy at The MET Breuer
- “Living Sculpture,” in aluminum sheeting on view at The MET Breuer