The catalogue is published on the occasion of the exhibition Carlos Garaicoa. El Palacio de las Tres Historias held at Fondazione Merz from 30th October 2017 to 4th February 2018.

“El Pensamiento as logos and affection, word and intention, memory and distance, history and attention, metaphor and irony; this is the common thread that Carlos Garaicoa has for years spun with his art. ” (Claudia Gioia)

The catalogue reproduces the photographic documentation of the exhibition at the Fondazione Merz and a selection of Garaicoa‘s works from the 1994 to 2017. A text by the exhibition curator Claudia Gioia enlightens the dialogue between art and architecture, exploring the site specific installation at the Fondazione Merz.

The book also includes a specially commissioned text by acclaimed Cuban novelist Leonardo Padura.

The catalogue is published on the occasion of the exhibition Massimo Bartolini. Four Organs held at Fondazione Merz from 3 July to 1 October 2017.

“It’s the first time that works planned individually are presented together and play together, like in a concert. There is a polyphony. The instruments of this quartet are four organs, called Otra Fiesta from a poem by Roberto Juarroz, Voyelles from a poem by Arthur Rimbaud, In a Landscape from a piece by John Cage and Three Quarter-tone Pieces from a piece by Charles Ives. Maracas, instead, comes along with the title of the Four Organs exhibition. I had been listening to a lot of Steve Reich for some time. There is a very good record (Four Organs): it seemed like a suggestion that I could not allow to go by. So I extrapolated Reich’s title.” (Massimo Bartolini)

The catalogue reproduces the photographic documentation of the exhibition at the Fondazione Merz and a selection of Bartolini‘s works from 1989 al 2016. A conversation between the artist and Luca Cerizza enriches the site specific installation at the Fondazione Merz.

This catalogue is published on the occasion of the exhibition Marzia Migliora. Velme curated by Beatrice Merz and held at Ca’ Rezzonico in Venice from 13 May to 26 November 2017.

“Attracted by the charm of the lagoon city, with its complex history and its most current contradictions, Marzia Migliora relates Venetian affairs and those of the world of labour through a series of legendary, literary and social implications, conceiving a project steeped in elements drawn from history and current events, making use also of some works conserved in the historic building. ” (Beatrice Merz)

The catalogue reproduces the photographic documentation of the exhibition at Ca’ Rezzonico and a selection of Marzia Migliora's works from 2002 to 2016. The project drawings realized by the artist in preparing of the exhibition stands by the curator Beatrice Merz text. A conversation between anthropologist Alberto Salza and the artist enriches the site specific installation by Marzia Migliora, whom works are on display in several rooms of the Museo del Settecento Veneziano in the historic Palazzo Ca’ Rezzonico.

This catalogue is published on the occasion of the finalists’ exhibition of the First Edition of the Mario Merz Prize, held at the Fondazione Merz from March 8 to June 11, 2017.
The Mario Merz Prize, created with the aim of launching a new project which, through the expertise of an extensive international network of experts, be able to identify new emerging exponents in art and, in parallel, enable young composers to present themselves for an innovative project of contemporary music, is now at its second edition.
Francesco Arena, Petrit Halilaj, Gili Lavy, Shahryar Nashat and Suha Traboulsi are the artists chosen for the final and invited to exhibit the works they consider to be some of the most significant of their artistic practice and suitable for presenting themselves to the public in the context of collective exhibition.
The finalists composers, Gabriele Cosmi, Geoffrey Gordon, Pierre Mariétan, Catherine Milliken have been invited to compose new pieces which are then performed in concert, enabling the final jury and public to choose the winner. The concert, which took place in the exceptional setting of the Villa della Tesoriera, home to the Biblioteca Musicale Andrea Della Corte in Turin, is available in the CD recording enclosed with this volume.

Within the splendid settings of the Italian Cultural Institute in London will be announced the winners on 5 July 2017.
During the event the presentation of the sound work I am Doctor Merz. A voice Opera on Mario Merz: a reading of a selection of texts by the artist, accompanied by electronic tracks will take place .

This booklet is the ideal complement to the catalogue of the solo exhibition that the Fondazione Merz dedicated to the Egyptian artist Wael Shawky, winner of the first edition of the Mario Merz Prize, an international biennial award for art and music. The exhibition ran from 2 November 2016 to 5 February 2017. The book collects the images of the spectacular staging of the exhibition at the Fondazione’s spaces in Turin. The site-specific exhibition project, conceived by the artist himself, focuses on the Al Araba Al Madfuna film trilogy, presented for the first time in its entirety. Wael Shawky invites us to go through the physical elements that make up the film: stage architectures and sculptures, set in an artificial landscape of sand. The scenography thus produced, together with the projections, offers the possibility of an immersive experience between dream and reality, creating an original atmosphere that takes up the historical, literary and cinematographic references through which the artist has imagined his stories.

This catalogue is published on the occasion of the exhibition Wael Shawky: Al Araba Al Madfuna curated by Abdellah Karroum and held at Fondazione Merz from 2nd November 2016 to 5th February 2017.

“Shawky is an artist who embraces the exhibition space in a gesture of giving and sharing fragments of a world that is impossible to translate into controlled physical forms. […] Wael Shawky: Al Araba Al Madfuna invites the viewer to walk through elements of the films and their processes of production – architectural artefacts, sculptures, and drawings on animal skins – placed inside a built landscape of sand. The viewer moves in temporal reverse, beginning with the last film, Al Araba Al Madfuna III, in colour, followed by three-dimensional elements taken from the storyboard, and then, finally, Shawky’s older films in black and white. [...] The entire Al Araba Al Madfuna project was inspired by a journey, a place within history, and a personal experience of that place. The storyboards, drawings, sculptures, and films that emerged were made between Abydos, the place of the artist’s site of expedition, and the exhibition spaces and museums where the artwork is later made visible. His journey to Upper Egypt is marked and made of places and encounters, of archaeological sites, of the people who care for the memory of the past, the people who wait, the people who dig, and finally, of those who write. It is this latter category, embodied by the work of the Egyptian novelist Mustagab, that is the most influential for Shawky in this project. In a way, the artist looks at humankind’s experience of history as his own experience, of both accountability for some pressing issues in the world and watching as older values die or mutate into other forms of life.” (Abdellah Karroum)