Tuesdays and Saturdays from 15 to 19.20 hs.

As part of the exhibition Fabio Mauri will be screened 8 documentary films with the records of its most important performances and an interview with the artist.

PROGRAM
‘Che cos’è il fascismo, 1971
(¿What is Fascism?) Length: 8’ 27’’

It was presented on April 2, 1971 in Film Studies Safa Palatino in Rome., with the participation of students from the National Academy of Dramatic Arts “Silvio D’Amico”, at the end of the seminar “gesture and behavior in today’s art”, by Giorgio Pressburger. The starting point of the performance was the memory of Hitler’s visit to Florence in 1938 (…) and the action is to rebuild the starring of the ‘Ludi Juveniles’: gymnastics, meetings, exhibitions fencing, skating, hymns and discuss about Mysticism Regime. In the performance, all the action happened in a rectangular red carpet with the symbol of the swastika in the center, including black forums divided by occupations: Artists, Agricultural Contractors, Engineers. There are also two small stalls bearing the Star of David, symbol of the racial discrimination of the fascist era. (…) (Dora Aceto, in Studio Fabio Mauri)

Ebrea, 1971
(Jewess) Length: 5’
Alongside Che è il fascism, Mauri prepares a completely different performance. Ebrea is set in a haunting installation and its introduced for first time in 1971 in Venice, in the gallery Barozzi, and then will repeated several times, though not always with the presence of all elements. A female figure habits a small space organized as the museum of concentration-camp sculptures made ​​of objects which, in the words of Maria D’Alesio, “simulate a human source.” Here the performance is combined with the installation Maurizio Calvesi define as “an inventory of tragic silences and ultrasound.” One of the more interesting aspects of the work is also a chilling example of corrosive critical analysis of the design: “It hinders the escape of secular security contemporary design, so confident in the progress” in the words of Mauri in the text accompanies the exhibition. In the center of the space a Horse Camping SS Harnesses harnessed Jewish skin and surrounded by other objects made ​​with the Jewish Stroller family Modigliani 1940; Anna Cittterich real shoes Warsaw, made ​​to itself; Ski gloves made ​​with Oswald and Mirta Rohn, captured in Davos-Brzezinka – Ospedale Maggiore; Brushes, organic pigments and Jewish parchment – Oswirgin. Birkenau in 1940; Soap true Jew bait; Chair of Jewish skin – Nuremberg 1941; Samuel Morpurgo, first guest of the Treblinka camp in the same frame, made by Attila Rengstorf – Treblinka 1943; Ippolito March; Black Racket; Priscilla-glove; Bean bags; Jewelry-Laiback; Jewish Family. Facing a locker with mirror, scissors and a hair Haarschneidemaschine slicer is young nude, strands of hair that is cut up and with them the mirror image of the Star of David, also written on his chest next to the number lager than the Nazis replaced the name, and with it, all signs of identity. The Star of David also appears amplified three times on the walls around a phrase in Hebrew prophet Jeremiah: “A voice was heard in Ramah, wailing and loud lamentation: Rachel is weeping for her children and refusing to be comforted because no longer exist. “It is the banality of evil staging through a macabre collection of objects. Among them, the bag alludes to a more stable identity, endangered, threatened. The wall of suitcases presented at the Venice Biennale in 1993 (under a new proposal Ebrea), takes up the theme of dramatic divisions of the world and presented in Muro d’Europe. The facility is clearly linked to the tragic Jewish history as not only indicate the title, Muro Occidentale or Pianto and indications images Ebrea within the single open trunk, but also the artist’s biography, by the tragedy of their friends departed, never to return. However, the work becomes a universal symbol of all migration, exile all, everything, “World Pain”. If Ebrea, with the only female among dumb objects, performance is a melancholy solitude, Che è il thing fascism and Futuristic Gran Serata 1909-1930, are performances of the crowd, where the emphasis is on the public side and less intimate, where the brand’s vitality (real in the second, apparent at first), where not only many performers gorge scene, but many collaborate. A solitary female figure is the protagonist of Natur and culture, presented at the Galleria 2000 in Bologna in 1973, and then return to be several times under the title of Ideology and nature. (Laura Cherubini, 2012)

Il televisore che piange, 1973
(The television crying). Length: 2’ 41’’
The proposed action is within the transmission ‘Happening’, curated by Enrico Rossetti for the Italian Radio and Television (…) The author’s image appears in front of a screen with the words “The End”. Then, the transmission is interrupted, as a transmission failure, leaving about 60 seconds vacuum. Under white image feels a painful scream. (…) Many people called the RAI because of the curious and prolonged fault: someone crying in the empty screen. Mauri’s intention was political, saddened by the contradictions of everyday life in Italy. (Dora Aceto, in Studio Fabio Mauri)

Ideologia e Natura, 1973
(Ideology and Nature). Length: 6’ 11’’
It is a performance held at the Galleria Duemilda, Bologna. A young fascist uniform “little Italian” undresses and gets to wear many times. Initially standing in front of a white cube performs this operation undress and re-dress in a natural way, and then at marks of a metronome, still does, but without logical order. Variations in the mode of dress with the same clothes change the ideological value of the uniform, prompting the viewer to reflect on the reasons for this mode of dress as anomalous. From the ingenuity of the performer and the combination of casual garments, the image changes and goes looking alternatively to the Ku Klux Klan, Harlequin, a character from an equestrian circus. This journey into the symbolic nakedness shows that the only fact of reality is the idea of ​​nature, an idea that dominates over all clothing imposed by culture and by the ideological imaginary. (Dora Aceto, in Studio Fabio Mauri)

Intellettuale, 1975
(Intellectual). Duración: 2’
The performance was presented on the occasion of the inauguration of the new Galleria Comunale d’Arte Moderna in Bologna in 1975, with the participation of Pier Paolo Pasolini, a close friend of Fabio Mauri. The action takes place on the steps outside the gallery. Pasolini, in a booster seat, becomes a “human shield” projected on him his film ‘The Gospel according to St. Matthew’. (…) (Dora Aceto, in Studio Fabio Mauri)

Gran serata futurista, 1981
(Great futuristic evening). Length: 9’ 49’’
The performance made ​​his debut at the Teatro Municipal de L’Aquila, with students and teachers at the Academy of Fine Arts (…) The program follows a tripartite structure in order to highlight the many different languages ​​used by futurism before the First World War (intervention), during the conflict, 1915-18 (experience on the front) to the post-war period (the disappointment and the dispersion of the Futurists). Aware of the historical avant-garde innovations, Mauri takes an analytical assessment of Futurism. (Dora Aceto, in Estudio Fabio Mauri)

Che cos’è la filosofia. Heidegger e la questione tedesca. Concerto da Tavolo, 1989 (What is the philosophy? Heidegger and the German question. Concerto Table). Length: 8’ 57’’
“It takes place on a large square table served with beer and sauerkraut. Actors, with the tone of the highclass debate society, recite the verses of German poetry. Suddenly, the sound you hear in Italian, but with German accent, a real document based on the trial of Eichmann, related to the economic use of certain parts of the Jewish body (hair, gold teeth …) (…) the contrast is very strong; Germany generates one of the highest cultural and philosophical traditions, but also creates an inhuman abyss of death. Combining German folk songs and documents on Nazi radio torture of Jews, shakes inevitably awareness of these “ (Dora Aceto, in Studio Fabio Mauri)

Omaggio al Gutai, 1990
(Tribute to the Gutai). Length: 11’ 10’’
Conducted in 1990 in the central hall of the Gallery of Modern and Contemporary Art of Rome for the opening exhibition Japan Vanguard: The Gutai Group in the fifties. An initial concert piano, percussion and motorcycles is the backdrop of a mime dressed in red holding dance ‘Sanbaso supermodern’ created by Kazuo Shiraga in 1957; followed by the simulation of a kendo match. The eastern and western cultures relate here with particular reference to the elements in Futurism.
(Dora Aceto, in Studio Fabio Mauri)

Ricostruzione della memoria a percezione spenta, 2004
(Reconstruction of memory in perception off). Length: 11 ’

http://www.fabiomauri.com/en/proiezioni/ricostruzione-della-memoria-a-percezione-spenta.html)