ARTPIL Profiles of the Arts
Fabio Mauri / With Out
Through Apr 7, 2018 / Hauser & Wirth

Hauser & Wirth is pleased to present Fabio Mauri. With Out, a solo exhibition of works by the late Italian artist, organized with Olivier Renaud-Clément. In a career spanning five decades, Mauri conducted an unyielding critical exploration of the mechanics of ideology, specifically as they materialized in the visual languages associated with World War II, the rise of Fascism and the Holocaust, and their lingering echoes in the modern world. His command of a diversity of disciplines and mediums – from drawing, painting, sculpture, performance, film, and installation, to theatre and theoretical writings – produced an oeuvre that effectively connects the enduring traumas of the twentieth century to today. Sobering, direct, and poetic, Mauri’s work recovers individual and collective historical memory; it addresses themes of mass communication and manipulation, and brings to light the political dimension of images that proliferate throughout contemporary society by means of our most prized tools.

 

Fabio Mauri

Fabio Mauri

As part of the exhibition, Hauser & Wirth will re-stage a selection of Mauri’s historical performances, including Europa Bombardata (Europe Bombarded) 1978, L’Espressionista (Expressionist) 1982, and Ebrea (Jewess) 1971, one of Mauri’s most provocative and celebrated works..

 

Fabio Mauri

Fabio Mauri

Matilde Guidelli Guidi on Fabio Mauri. With Out

Throughout his career, Fabio Mauri obstinately asked the fraught question: What is it to be a fascist, then as now? How does ideology mandate everyday behaviors, and what is the role of images in molding collective memory? In line with advanced conceptual art, Mauri’s multimedia work pursues this inquiry by dramatizing modernist painting, as this exhibition extensively demonstrates. The gestural brushstroke of expressionism migrates into evocative props for performances that restage fascist liturgies, while the aesthetic reductivism of the monochrome is treated as a screen encumbered by irreducible objects, images, and writing. At once philological and symptomatic, Mauri’s art confronts us with the residues of a fascist past, alerting us that nothing is superseded in history.

 

Fabio Mauri

Fabio Mauri

Mauri gives poetic answers to a lucid scrutiny of Western thought following the lead of German philosophers Immanuel Kant, who in the wake of the French revolution asked, ‘What is Enlightenment?’ (1784), and Martin Heidegger, who in the aftermath of World War II set to ask, ‘What is Philosophy?’ (1955). Yet, whereas those illustrious precedents are aimed at salvaging the premises of the occidental method – critique, judgment, and reason – Mauri’s artistic practice patiently recomposes that tradition, aspiring to work through its extreme consequence: violent discrimination endorsed by false rationalization. The cumulative architecture of rubble in his Europa Bombardata is the cumbersome evidence of that catastrophic possibility.

 

Fabio Mauri

Fabio Mauri

The fundamental themes of discrimination and violence further coalesce in Mauri’s installation Entartete Kunst (1985). Translating ‘art of a separate kind’ or ‘degenerate art,’ it quotes the derogatory title of the 1937 Nazi exhibition of modernist artifacts that were seized, segregated, and displayed as a demonstration of what ought be repressed in name of Aryan purity. Here, a bronze sculpture of Joseph Goebbels, Nazi Minister of Public Enlightenment and Propaganda, stands between two large vertical monochromes, a red and a yellow. The blocky, jagged sans-serif type that the Nazis chose for their exhibition’s ephemera in mockery of modernism is repurposed by Mauri in a frieze carrying the spiteful title, further broken down in dynamic single-letter works on paper that gently encircle this tableau. In an ironic double-negation, Goebbels’ summarily molded bronze portrait appears bruised and dwarfed by the system that he had wanted to silence.

Selected works comprising Ebrea (1971) seek to recover the experience of the subjects of Fascism via a reconstitution of their daily objects and routines. They illustrate the way totalitarian power disperses among the general population, accountable for mutual repression, control, and order. Mapping Jewish family names onto carefully crafted objects, the impeccable inventory of Ebrea conveys the cumulative effect of such delegated power. The traditional aesthetics of Mauri’s props stand in opposition to the amnesic confidence of progressive Italian postwar design.

 

Fabio Mauri

Fabio Mauri

Traditional aesthetics also run through the series Senza Arte (Without Art), 1990, in which Mauri explodes the conventions of still-life painting. A metallic stretcher, orphan of its canvas, has its contents scattered beside it, while a monochrome screen supplies a shelf for a fan, revealing a vinyl record hidden within. Fraught with irreducible material culture, these works recuperate popular memories lost. Never allegiant to any ideology, Mauri produced a powerful body of critical and associative works that record and dismantle the subtle mechanisms of all ideology – past, present, and future.

 

Fabio Mauri. With Out
Through April 7, 2018 / Hauser & Wirth New York
For more information please visit the exhibition page >

Recent Articles
ARTPIL / Prescription .075
December is the cruelest month
We are approaching the year’s end with the holiday season already around…
We are approaching the year’s end with the holiday season already around us. Welcome to the .075th edition…
Bauhaus & Photography
Through Mar 10, 2019 / NRW-Forum
Bauhaus not only played a key role in the history of 20th…
Bauhaus not only played a key role in the history of 20th Century design and art, but also…
Blood in My Milk / Marianna Simnett
Through Jan 6, 2019 / MMK Frankfurt
Unadulterated purity and beauty face impending invasion and sickness. Within the protective…
Unadulterated purity and beauty face impending invasion and sickness. Within the protective zone, however, the body takes on…
Peter Bialobrzeski – The City / Urban Spaces
Through Jan 19, 2019 / Foto Forum
Photographer Bialobrzeski portrays human habitats just as the elder artist portrayed members…
Photographer Bialobrzeski portrays human habitats just as the elder artist portrayed members of the clergy, personages from history,…
Project Iceworm / Anastasia Mityukova
Dec 13, 2018 – Jan 27, 2019 / Museum Folkwang
In Project Iceworm, Mityukova takes a look at the tumultuous history of…
In Project Iceworm, Mityukova takes a look at the tumultuous history of the town of Thule in Greenland…
50 Years / 50 Artists
Through Dec 21, 2018 / Annely Juda
Celebrating 50 years since the gallery’s establishment as Annely Juda Fine Art…
Celebrating 50 years since the gallery’s establishment as Annely Juda Fine Art in 1968, the exhibition will feature…
Universal Declaration of Human Rights
70 year Anniversary
Recognition of the inherent dignity and of the equal and inalienable rights…
Recognition of the inherent dignity and of the equal and inalienable rights of all members of the human…
ARTPIL / Prescription .074
smile bravely at the night
The secret I am seeking lies hidden in a valley full of…
The secret I am seeking lies hidden in a valley full of olive trees, under the grass and…
Fabio Mauri / With Out
Through Apr 7, 2018 / Hauser & Wirth

Hauser & Wirth is pleased to present Fabio Mauri. With Out, a solo exhibition of works by the late Italian artist, organized with Olivier Renaud-Clément. In a career spanning five decades, Mauri conducted an unyielding critical exploration of the mechanics of ideology, specifically as they materialized in the visual languages associated with World War II, the rise of Fascism and the Holocaust, and their lingering echoes in the modern world. His command of a diversity of disciplines and mediums – from drawing, painting, sculpture, performance, film, and installation, to theatre and theoretical writings – produced an oeuvre that effectively connects the enduring traumas of the twentieth century to today. Sobering, direct, and poetic, Mauri’s work recovers individual and collective historical memory; it addresses themes of mass communication and manipulation, and brings to light the political dimension of images that proliferate throughout contemporary society by means of our most prized tools.

 

Fabio Mauri

Fabio Mauri

As part of the exhibition, Hauser & Wirth will re-stage a selection of Mauri’s historical performances, including Europa Bombardata (Europe Bombarded) 1978, L’Espressionista (Expressionist) 1982, and Ebrea (Jewess) 1971, one of Mauri’s most provocative and celebrated works..

 

Fabio Mauri

Fabio Mauri

Matilde Guidelli Guidi on Fabio Mauri. With Out

Throughout his career, Fabio Mauri obstinately asked the fraught question: What is it to be a fascist, then as now? How does ideology mandate everyday behaviors, and what is the role of images in molding collective memory? In line with advanced conceptual art, Mauri’s multimedia work pursues this inquiry by dramatizing modernist painting, as this exhibition extensively demonstrates. The gestural brushstroke of expressionism migrates into evocative props for performances that restage fascist liturgies, while the aesthetic reductivism of the monochrome is treated as a screen encumbered by irreducible objects, images, and writing. At once philological and symptomatic, Mauri’s art confronts us with the residues of a fascist past, alerting us that nothing is superseded in history.

 

Fabio Mauri

Fabio Mauri

Mauri gives poetic answers to a lucid scrutiny of Western thought following the lead of German philosophers Immanuel Kant, who in the wake of the French revolution asked, ‘What is Enlightenment?’ (1784), and Martin Heidegger, who in the aftermath of World War II set to ask, ‘What is Philosophy?’ (1955). Yet, whereas those illustrious precedents are aimed at salvaging the premises of the occidental method – critique, judgment, and reason – Mauri’s artistic practice patiently recomposes that tradition, aspiring to work through its extreme consequence: violent discrimination endorsed by false rationalization. The cumulative architecture of rubble in his Europa Bombardata is the cumbersome evidence of that catastrophic possibility.

 

Fabio Mauri

Fabio Mauri

The fundamental themes of discrimination and violence further coalesce in Mauri’s installation Entartete Kunst (1985). Translating ‘art of a separate kind’ or ‘degenerate art,’ it quotes the derogatory title of the 1937 Nazi exhibition of modernist artifacts that were seized, segregated, and displayed as a demonstration of what ought be repressed in name of Aryan purity. Here, a bronze sculpture of Joseph Goebbels, Nazi Minister of Public Enlightenment and Propaganda, stands between two large vertical monochromes, a red and a yellow. The blocky, jagged sans-serif type that the Nazis chose for their exhibition’s ephemera in mockery of modernism is repurposed by Mauri in a frieze carrying the spiteful title, further broken down in dynamic single-letter works on paper that gently encircle this tableau. In an ironic double-negation, Goebbels’ summarily molded bronze portrait appears bruised and dwarfed by the system that he had wanted to silence.

Selected works comprising Ebrea (1971) seek to recover the experience of the subjects of Fascism via a reconstitution of their daily objects and routines. They illustrate the way totalitarian power disperses among the general population, accountable for mutual repression, control, and order. Mapping Jewish family names onto carefully crafted objects, the impeccable inventory of Ebrea conveys the cumulative effect of such delegated power. The traditional aesthetics of Mauri’s props stand in opposition to the amnesic confidence of progressive Italian postwar design.

 

Fabio Mauri

Fabio Mauri

Traditional aesthetics also run through the series Senza Arte (Without Art), 1990, in which Mauri explodes the conventions of still-life painting. A metallic stretcher, orphan of its canvas, has its contents scattered beside it, while a monochrome screen supplies a shelf for a fan, revealing a vinyl record hidden within. Fraught with irreducible material culture, these works recuperate popular memories lost. Never allegiant to any ideology, Mauri produced a powerful body of critical and associative works that record and dismantle the subtle mechanisms of all ideology – past, present, and future.

 

Fabio Mauri. With Out
Through April 7, 2018 / Hauser & Wirth New York
For more information please visit the exhibition page >