Arte Povera and Career
In June 1967, Merz had her first solo exhibition at the Gian Enzo Sperone Gallery in Turin, for which she made a folded aluminum foil installation.[7] In December 1967, she had another show at the Piper Pluri Cub, a Turin disco that had opened the year before to host radical artistic events.[6] In October 1968, she participated in the three day Arte Povera + Azione Povera event, curated by Germano Celant, in Amalfi.[8] This Arte povera event, which also included the artists Michelangelo Pistoletto, Alighiero Boetti, Giovanni Anselmo, and Mario Merz, was radical for its avant-garde display of every day "poor" materials as art.[8] Her work continued to reflect many of the fundamental issues with which Arte Povera artists are preoccupied, such as organic forms, subjectivity, the use of lower forms of art, including crafts, and the relationship between art and life. In 1969 she had a solo exhibition at the Attico Gallery in Rome.[7] Her works took on an openly environmental character in a series of "rooms."[9] Her husband Mario was supportive of her art and her career and would help her with her installations.[10] In 1975 she also had a solo exhibition in Rome. This exhibition featured installations made by using knitted copper, under the title of Ad occhi chiusi gli occhi sono straordinariamente aperti ('To closed eyes, the eyes are extraordinarily open').[11]
As a young artist, Merz did not receive wide-spread recognition, despite her huge contribution to the scene.[5] Later, the growth of feminism brought her greater consideration. Marisa Merz's art has been described as lyrical, subtle, visionary, and private.[12] Her installations feature the idea of the home as an intimate place, private, and feminine. An example is her 1966 installation Untitled (Living Sculpture), which was intended both for her home and to be presented in a gallery (she once said 'There has never been any division between my life and my work'). The installation consisted of thin strips of aluminium, clipped and suspended from the ceiling, forming coils and spirals. The work was acquired by Tate Modern in 2009. Her practice integrated aspects of craft and practices traditionally associated with women (e.g. knitting) and often employed mundane materials, such as copper, aluminum, waxed paper, and paraffin wax, which reflected her home environment. In this way, her art exemplifies that of the Arte Povera group, which collectively sought to "call into question—if not subvert—the high-gloss finish of fine art and its deadness as an institutional commodity."[13] As an artist, Merz refused to formally name or date her works and claimed that art making operated "beyond time."[6]
In her 1975 artist statement she talked about the absent divide between her life and her work that she created. By this time she had extracted herself from the art scene and practically locked herself in her studio to work.[14] Therein she reflected about life with her daughter, Bea, while she was constructing her aluminum sculptures and how her daughter taught her so much in that time.[15] In 1977, Merz had a solo exhibition at Galleria Salvatore Ala in Milan, Italy.[6] After her husband's death in 2003, Merz left his studio untouched and continued to work into her 90s.[6] In 2015, Beatrice Merz later opened a contemporary art center, the Fondazione Merz, in Turin.[16]
She took part in documenta 7 in 1982 and documenta 9 in Kassel in 1992. She was also included in the Venice Binnale in 1988.[17] In 1994, she had her first US show at Barbara Gladstone.[6]
