Fabio Mauri, born in Rome in 1926, emerged as one of the most significant figures in the Italian post-war avant-garde, leaving an indelible mark on the art world through his multifaceted practice until his passing in 2009. His early life, marred by the traumas of World War II and Fascism, profoundly influenced his artistic journey, leading him to explore themes of ideology, memory, and the power of imagery through a diverse array of mediums including performance, film, installation, sculpture, and theoretical writings. Mauri's intellectual and artistic pursuits began in earnest in the 1940s. In 1942, alongside his friend Pier Paolo Pasolini, he founded the magazine 'Il Setaccio' (The Sieve), marking the start of a lifelong engagement with art and culture. His education and early career were deeply intertwined with the cultural and intellectual milieu of Italy, allowing him to form significant relationships with key figures of the Italian avant-garde, such as novelist Italo Calvino, philosopher Umberto Eco, and visual artist Jannis Kounellis. By the mid-1950s, Mauri had begun to establish himself as an artist of note. His first solo exhibition took place in 1954 at the Galleria L’Aureliana in Rome, introduced by Pasolini, showcasing his early engagement with the art world. This period also saw the inception of his iconic "Schermi" (Screens) in 1957, which represented his unique approach to monochrome painting and reflected his fascination with cinema and the symbolic power of the screen. This concept of the screen as a mediator of reality and ideology would permeate Mauri's work throughout his career. Mauri's exploration of European culture's specificity, particularly its ideological underpinnings, began in earnest in the 1960s. His work delved into the traumatic memories of war and Fascism, using art as a means to confront and analyze these histories. The performances of the 1970s, such as "Cosa è il fascismo," "Ebrea," and "Gran Serata Futurista 1909 – 1939," exemplify his approach to art as a form of critical engagement with the past and its ongoing impact on the present. Throughout his career, Mauri remained deeply involved in the cultural sector, working for the family publishing house Bompiani and founding influential magazines such as "Quindici" and "La città di Riga." His contributions to art and culture were recognized in 2009 when he was made Grand Officer of the Order of Merit of the Italian Republic by President Giorgio Napolitano. Mauri's work has been exhibited internationally, including at prestigious venues such as the Venice Biennale and dOCUMENTA (13). His art is part of public and private collections worldwide, testament to his enduring influence and relevance. Even after his death, Mauri's legacy continues through the Studio Fabio Mauri and the World Experimental Art Association, ensuring that his critical and creative insights remain part of contemporary discourse. Fabio Mauri's oeuvre stands as a profound investigation into the mechanisms of ideology, the trauma of history, and the role of art in society. Through his diverse artistic practices, he challenged audiences to confront uncomfortable truths, using the screen—whether of cinema, television, or computer—as a metaphor for the mediation of reality and the construction of collective memory. Mauri's work, characterized by its ethical rigor and intellectual depth, remains a vital part of the conversation on art's power to reflect and shape human experience.

Fabio Mauri Quotes and Sales of Works

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