New York
“The Sky is a Great Space” emphasized the consistency behind Marisa Merz’s body of work over chronology, starting with the larger-than-life “Living Sculpture” series (1966) at the exhibition entrance. These giant slinky-toy-like aluminum sheets hung from the ceiling in curls, spirals, and amorphous dangling “bodies”–most (excepting a wrapped armchair and a tent-like shape) without antecedent as “forms.” Breath alone could make them sway. Though installed in a spacious setting at the Met Breuer, these same shapes were once jammed together around a television set in the Merz home in Turin (as seen in a photo on the catalogue cover), where one can imagine them moving and bumping into people. …see the entire review in the print version of October’s Sculpture magazine.
