This essay tries to find out the shared structural element between Mario Merz’s installations and László Krasznahorkai’s prose, with special accent on the Seiobo There Below. Both artists use the Fibonacci series of numbers, which results a “fragile and potentially dangerous” (Germano Celant) structure. The connections are not based on conventions, are not guaranteed by certain characters with certain identities, but they may appear by the pre-historical structures of different works of art in different situations. Merz’s arte povera outstandingly represented solidarity within society, Krasznahorkai’s subtle prose, in a more hidden way, does the same. Both have found new and archaic structures to surpass the overwhelming rhetorics of war. [*]
[*] While writing this study, the author received the grant of the Domus Program of Hungarian Academy of Sciences.
