MATERIALS: Gold, enamel, platinum, teeth, pyrography on wood, wooden base with glass case
DIMENSIONS: 140 × 20.2 × 20.5 cm
Jewel: 10.5 × 9 × 9 cm
Base: 120 × 20.2 × 20.5 cm
PROVENANCE: The artist
COLLECTION: Fabio Mauri Estate, Rome
CATALOGUE: O_1971_312
Gold enamel jewel in the form of a square Schermo (Screen), slightly protruding, with black edges, rounded corners and the word ‘END’ inscribed in the centre. A platinum decoration attached at the front is embedded with two human teeth – possibly, the artist’s. The precious workmanship contrasts with the rough-hewn wooden base on which the jewel rests, and onto which the title has been pyrographed. ‘Laiback’ is probably a typo for ‘Laibach’, the old German name for the Slovenian capital Ljubljana, which dramatically came back into vogue following the Nazi occupation. The work was part of the ‘Ebrea’ exhibition-installation (inv. 3476) that rendered the dystopia of a Nazi-ruled world in which, reduced to mere organic matter, racialised bodies were commonly used to make furniture and objects.
1971, Venice, Galleria Barozzi, Ebrea, opening 1 October, curated by Furio Colombo, Renato Barilli.
1971, Brescia, Galleria Acme Studio, Ebrea, opening 30 October (travelling: 1971, Venice).
1971, Parma, Galleria La Steccata, Ebrea, opening 18 November (travelling: 1971, Venice).
1971, Rome, Galleria La Salita, Ebrea, opening 9 December (travelling: 1971, Venice).
1974, Milan, Galleria Cenobio Visualità, “D.P.V.”: Ebrea, 13 February.
1974, Bologna, Galleria de’ Foscherari, Ghenos Eros Thanatos, 15 November – 16 December, curated by Alberto Boatto.
1992, Milan, Studio Casoli, Fabio Mauri. 3 performances, 8 April, curated by Carolyn Christov-Bakargiev.
1993, Venice, Giardini di Castello, Italian Pavilion, XLV Esposizione Internazionale d’Arte – Punti cardinali dell’arte, 14 June – 10 October, curated by Achille Bonito Oliva.
1994, Rome, Galleria Nazionale d’Arte Moderna e Contemporanea, Fabio Mauri. Opere e Azioni 1954-1994, 21 June – 5 October, curated by Carolyn Christov-Bakargiev, Marcella Cossu.
1994, London, Smith’s Galleries, Four Italian Masters of Contemporary Art, 20 October – 6 December.
1997, Klagenfurt, Kunsthalle, Fabio Mauri. Male e bellezza / Das Böse und das Schöne, 24 April – 30 June, curated by Arnulf Rohsmann.
2001, Warsaw, Ujazdowski Castle – Centre for Contemporary Art, Belvedere Italiano. Linee di tendenza dell’arte italiana dal 1945 al 2001, 18 June – 22 July, curated by Achille Bonito Oliva.
2003, Tourcoing-Lille, Le Fresnoy, Studio national des arts contemporains, Fabio Mauri – L’écran mental, 1 March – 27 April, curated by Dominique Païni.
2004, Rome, Museo del Corso, Ori d’Artista, 30 March – 27 June, curated by Francesca Romana Morelli.
2005, Bergamo, GAMeC – Teatro sociale, Fabio Mauri. Il Muro Occidentale o del Pianto. Ebrea, 28 January – 20 February.
2007, Rome, Centro Culturale Cappella Orsini, Il triangolo rosa, 27 January – 15 February, curated by Roberto Lucifero.
2012, Milan, Palazzo Reale, Fabio Mauri – The End, 19 June – 23 September, curated by Francesca Alfano Miglietti.
2014, Buenos Aires, Fundación PROA, Fabio Mauri, 6 September – 23 November, curated by Giacinto Di Pietrantonio.
2016-2017, Naples, Museo Madre, Retrospettiva a luce solida, 26 November 2016 – 6 March 2017, curated by Laura Cherubini, Andrea Viliani.
2018, New York, Hauser & Wirth, With Out, 25 January – 7 April, curated by Olivier Renaud-Clément.
Fabio Mauri, Der Politische Ventilator (Milan: Achille Mauri – Krachmalnicoff, 1973), p. 43 (ill.).
Ghenos Eros Thanatos, exhibition catalogue, Galleria de’ Foscherari, Bologna, edited by Alberto Boatto (Bologna, 1974), p. 43 (ill.).
Linee della ricerca artistica in italia 1960/1980, exhibition catalogue, Palazzo delle Esposizioni, Rome, edited by Nello Ponente (Rome: De Luca editore, 1981), Vol. I, no. 244, p. 193 (ill.).
Francesco Poli, “Ebrea e il Muro Occidentale di Fabio Mauri”, in XLV Esposizione Internazionale d’Arte: Punti cardinali dell’arte, exhibition catalogue, La Biennale, Venice, edited by Achille Bonito Oliva (Venice: Marsilio, 1993), pp. 48, 50.
Fabio Mauri. Opere e Azioni 1954-1994, exhibition catalogue, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, edited by Carolyn Christov-Bakargiev, Marcella Cossu (Milan / Rome: Editoriale Giorgio Mondadori / Carte Segrete, 1994), p. 127 (ill.).
Fabio Mauri: Male e bellezza – Das Böse und das Schöne, exhibition catalogue, Kunsthalle, Klagenfurt, edited by Arnulf Rohsmann (Klagenfurt, 1997), pp. 11, 110 (ill.).
“Fabio Mauri ”, in Kirchenzeitung, Linz, 4 May 1997, p. 18 (ill.).
Fabio Mauri. L’écran mental, exhibition catalogue, Le Fresnoy, Studio national des arts contemporains, Tourcoing-Lille, edited by Dominique Païni (Lille, 2003), p. 94 (ill.).
Adachiara Zevi, “L'arte ‘saggistica’ di Fabio Mauri”, in L’architettura – cronache e storia, no. 575, Rome, 2003, p. 669 (ill.).
Ori d’artista, exhibition catalogue, Museo del Corso, Rome, edited by Francesca Romana Morelli (Cinisello Balsamo: Silvana Editoriale, 2004), pp. 91 (ill.), 127.
Manuela De Leonardis, “Ori d'artista. Il gioiello nell'arte italiana 1900-2004”, in Goccia d’acqua, 2004 (www.god-a.org), .
Federico Sardella, “Fabio Mauri. Teatro sociale / GAMeC”, in Arte e Critica, Year XII, no. 42, Rome, April–June 2005, p. 76 (ill.).
“Il ‘triangolo rosa’ da Jannis Kounellis a Pizzi Cannella”, in Corriere della Sera, Milan, 28 January 2007, p. 15 (ill.).
Fabio Mauri, Scritti in mostra. L’avanguardia come zona 1958-2008, edited by Francesca Alfano Miglietti (Milan: il Saggiatore, 2008), p. 227 (ill.).
Fabio Mauri. The End, exhibition catalogue, Palazzo Reale, Milan, edited by Francesca Alfano Miglietti (Milan: Skira, 2012), p. 47 (ill.).
Laura Cherubini, “Jewess”, in Fabio Mauri. Ideology and Memory, edited by Studio Fabio Mauri (Turin: Bollati Boringhieri, 2012), p. 55 (ill.).
Lea Mattarella, “Fabio Mauri - Quando l'arte mette in scena tutto l'orrore del Novecento”, in la Repubblica, Year 37, no. 185, Rome, 5 August 2012, p. 44 (ill.).
Vice versa: 55. Esposizione Internazionale d’Arte di Venezia, exhibition catalogue, La Biennale, Venice, edited by Bartolomeo Pietromarchi (Milan: Mousse Publishing, 2013), p. 134 (ill.).
Marta Baiardi, Alberto Cavaglion, Dopo i testimoni: Memorie, storiografie e narrazioni della deportazione razziale (Rome: Viella, 2013), p. 374 (ill.).
Alberto Boatto, Ghenos eros thanatos e altri scritti sull’arte 1968-1985, edited by Stefano Chiodi (Rome: L’Orma editore, 2016), p. 47 (ill.).
