Rome

Fabio Mauri

Studio Bocchi

Fabio Mauri’s development began in the late ’50s, at a time when many artists—both in Europe and in the United States—were looking for ideas to counter those of art informel and from action painting. Mauri’s solution (which he shared to a limited degree with Enrico Castellani and Piero Manzoni) was to reduce painting to “ground zero,” to its minimal conditions, so that the paintings become simple supports—empty, monochrome screens. This emptiness allows the imagination free reign; thus, film fragments, words such as “The End,” and later the profile of Frank Sinatra appear on surfaces that are almost always white or black. This theatrical trait is evident throughout Mauri’s entire oeuvre. He projected the films of Pier Paolo Pasolini and of Miklós Jancsó onto the bodies of these respective directors, and the “white” sequences of Sergei Eisenstein’s Alexander Nevsky, 1938, upon 50 liters of

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