(Rome, 1926 – 2009)
Fabio Mauri debuts with a solo show presented by Pier Paolo Pasolini in 1955 at Aureliana Gallery in Rome. In 1957 Mauri begins to work on the series Schermi, his version of the monochrome, through a zeroing research that involves all the artists at that time. Since 1964 Mauri reflects on the specificities of European culture and the symbols of its history - war, conversion, madness - that become key element in his artistic practice from the 70s onwards. Mauri’s work avoids unique interpretations, due to the variety of the themes he dealt with in his artistic career. If the core elements in his works are, on one side, the sense of ethical and social responsibility of both past and present history, Mauri’s research is also marked by the advent of cinema and television: the projected image and the screen become fundamental themes in his work.
Among the most important exhibitions, we can mention: Fabio Mauri, Galleria del Cavallino (Venice, 1954); Pile a luce solida, XIV Triennale (Milan 1968); Vitalità del negativo nell’arte italiana, 1960 – 1970, Palazzo delle Esposizioni (Rome, 1970-71); Inside out, Centro per l’arte contemporanea Luigi Pecci (Prato, 1993); Biennale di Venezia (Venice, 1974-1978-1993-2003-2009-2011-2013-2015); Opere e azioni 1954 – 1994, Galleria Nazionale d’Arte Moderna (Roma,1994); Minimalia: An Italian Vision in 20th Century Art, MoMA PS1, (New York, 1999); Fabio Mauri - The Mental Screen, Le Fresnoy, Studio national des arts contemporains (Tourcoing, 2003); Fabio Mauri, THE END, Palazzo Reale (Milan, 2012); Documenta XIII (Kassel, 2013); Retrospettiva a luce solida, Museo d’Arte Contemporanea Donnaregina, MADRE (Napoli, 2016).
Fabio Mauri, The End, 1971
cm 70 x 100