reviews

Marisa Merz

Museo MADRE

A sort of musical cadence structured this installation of recent works, just a few in each of the gallery’s six rooms, featuring Marisa Merz’s familiar materials—copper wire, oiled paper, lead, clay, glass, gold leaf, wood—and themes. There were pauses and accelerations, and unexpected voids. In Untitled, 2004–2007, weavings of copper wire hung between the walls like the lines of a pentagram, delineating an oblique triangulation and leading the viewer’s gaze toward a corner of the room where one saw . . . absolutely nothing. It is here, in the margins, where every noise falls silent, that Merz wishes to lead us, so we can focus our attention on what is apparently insignificant, anonymous, or incongruous. There she points out things whose origins seem to have been forgotten and whose destination is ignored.

Merz’s approach does not follow a logical line but proceeds via unpredictable twists

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