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The silence inhabits the houses
Can
Shadow lines
In display case
Without title
Fioroni Giosetta
Without title
Drawing and collage preparatory draft for the book Art, magic and astrology in Leonardo's cenacle
Without title
Chiasma
Billy goat
Man in a bathing suit
Immaculate Conception
Defense of Nature
Olivestone
A fifteen-year-old captain
Bike
Metaphysicians
Flow
House
Ideology and nature
The universe, like infinity, we see it in pieces
Without title
Tables
Without title
Self portrait
The slide
Campidoglio square
Without title
Volcano
Packaging of Porta Pinciana
The David
Celestino V
Drawing
Express impossibility
Ninna Nanna
even this year
Heavenly infinity corner
Above our future
Emergence
The silence inhabits the houses
Can
Shadow lines
In display case
Without title
Fioroni Giosetta
Without title
Drawing and collage preparatory draft for the book Art, magic and astrology in Leonardo's cenacle
Without title
Chiasma
Billy goat
Man in a bathing suit
Immaculate Conception
Defense of Nature
Olivestone
A fifteen-year-old captain
Bike
Metaphysicians
Flow
House
Ideology and nature
The universe, like infinity, we see it in pieces
Without title
Tables
Without title
Self portrait
The slide
Campidoglio square
Without title
Volcano
Packaging of Porta Pinciana
The David
Celestino V
Drawing
Express impossibility
Ninna Nanna
even this year
Heavenly infinity corner
Above our future
Emergence

Tables

Mario Merz

Displayed in:

Experimental Museum of Contemporary Art Mu.Sp.Ac.

Experimental Museum of Contemporary Art Mu.Sp.Ac.

Piazza d'Arti, L'Aquila

Closed now: open at 10:00

Verified profile

The work is a multiple of the Fibonacci Tables, which the artist exhibited in Geneva in 1985 and represents perhaps the most complete idea compared to the author's cycle of tables, as it combines two discourses: the tables conceived as the architectural and object representation of the Fibonacci numerical series (identified in the thirteenth century by the abbot Leonardo da Pisa, nicknamed Fibonacci according to which each number is constituted by the sum of the two preceding it) and, visually, the spiral. Regarding the cycle of tables, the artist in an interview from 1981 (with Amman Pagè) states: The idea of the table came to me for the first time while we were sitting, all together, in a restaurant. There was a photographer who first photographed one person, then two, three ... up to 55. It was a structure corresponding to the Fibonacci numerical series ... I therefore made a table for one person, for two people, then for three and so on ... what interested me is the physical side of the table, since the table is linked to man in a very organic way. The table is a raised, elevated piece of land . All of Mario Merz's work focuses on the absolute predilection for the spiral form, understood as a mathematical and symbolic form: the spiral which, moving away from itself for infinite repetitions, reaffirms itself.
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Details

Title: Tables

Author: Mario Merz

Date: 1974/1985

Technique: Lithography

Displayed in: Experimental Museum of Contemporary Art Mu.Sp.Ac.

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