MATERIALS: 16mm-film projection on clothes on chair, photographs
COMPONENTS: Projector, easel, film, film case, chair, shirt, jacket, fifteen framed photographs
PROJECTION: Pier Paolo Pasolini, Il Vangelo secondo Matteo , 1964
16 mm film, black and white, sound, 142 min.
DIMENSIONS: Approx. 150 × 320 × 50 cm
Frames: 70 × 59 cm each
Chair, jacket, shirt: 91.5 × 48 × 42.5 cm
Film case: 37.5 × 42.5 × 5.5 cm
Projector: 92 × 20 × 63 cm
Easel: 78 × 48 × 110 cm
PHOTOGRAPHY: Antonio Masotti
INSCRIPTIONS: Signed and dated inside the denim jacket, behind the pocket: ‘Roma / facsimile della giacca di Pasolini per la proiezione / del Vangelo / 97 Mauri’.
Five photographs signed on the back of the frame: ‘Fabio Mauri’
PROVENANCE: The artist
COLLECTION: Fabio Mauri Estate, Rome
CATALOGUE: PR_1975_985
On 31 May 1975, at the opening of the Galleria d’Arte Moderna in Bologna, Mauri screened the film The Gospel According to Matthew on the chest of his friend and director Pier Paolo Pasolini, who made the film, sitting on a wooden chair, dressed in a white shirt and denim jacket. Entitled Intellettuale, this action took place a few weeks after a performance of the same name at the ‘Oscuramento’ exhibition (inv. 3484), at which Mauri projected the film Red Psalm onto Director Miklós Jancsó’s chest. ‘The filmmaker and work form a sculpture of flesh and light, a compact, patient, almost suffering unity. With the force of a “vision”, they reveal themselves to be one.’1 Pasolini was violently killed just five months after the Bologna action, murdered on 2 November 1975 at Lido di Ostia. Mauri subsequently transformed Intellettuale into an installation in memory of his slain friend. On 9 December that year, at the Teatro in Trastevere in Rome, images from the Gospel scrolled across Pasolini’s white shirt hung on the back of an otherwise empty chair; in the next room, the second half of the film was projected onto the face of singer Maria Carta who, her lips half-closed, modulated a lament (inv. 3686). Invited to the Bologna Settimana della Performance, in 1977, Mauri presented Intellettuale as an ‘installation that reflects on an action already performed’,2 introducing a selection of photographs that Antonio Masotti had taken on 31 May in Bologna: ‘A stasis entrusted to objective elements, deprived of body, but anchored in its traces: sound, photos, etc. […] The (full) sense of an (empty) cast from which the object is purposely subtracted’, the artist wrote in the exhibition catalogue, concluding: ‘But it is, here, specific, for the physical disappearance of the only person able to repeat Mauri’s action.’3
1. F. Mauri, ‘Il Vangelo secondo Matteo di / su Pier Paolo Pasolini’, in Pier Paolo Pasolini. La forma dello sguardo, exhibition catalogue, Mercati Traianei, Rome, edited by Fabio Mauri (Rome: Graf, 1985), p. 34.
2. F. Mauri in La performance: Bologna, 1977 Galleria comunale d’arte moderna, exhibition catalogue, Galleria Comunale d’Arte Moderna, Bologna (Pollenza-Macerata: La nuova foglio editrice, 1978), n.p.
3. Ibid.
1975, Rome, Teatro in Trastevere, Senza Ideologia: Azione di Fabio Mauri dal ciclo Oscuramento, 9 December.
1976, Milan, Galleria Toselli, Senza, 18 May.
1977, Bologna, Galleria d’Arte Moderna, Settimana Internazionale della Performance, 1–6 June.
1978, Geneva, Fondazione Patino, Sans nouvelles de l’Europe, 25 May.
1978, Vancouver, Pumps Gallery, Without, 24 September.
1978, Toronto, A Space, Fabio Mauri at A Space, 11–12 October.
1985, Rome, Mercati Traianei, Pier Paolo Pasolini. Una vita futura. La forma dello sguardo, 15 October – 15 December.
1988, New Delhi, Sri Fort Auditorium, Cinema as Poetry, 22–27 April.
1988, Annecy, Espaces expositions CAC Bonlieu, Intellettuale, 30 October.
1988, Orléans, 10 journées cinématographiques, 9–14 November.
1989, Tel Aviv, Shaar Zion Library at Beit Ariela, Intellettuale, 3–17 May.
1989, Edinburgh, St. Cecilia’s Hall, Intellettuale, 14–25 August.
1989, Boston, Harvard University Boston, Pier Paolo Pasolini: The Eyes of a Poet, 11–24 October (travelling: 1985, Rome).
1990, New York, Museum of Modern Art, Pier Paolo Pasolini. Una vita futura, 25 April – 29 May (travelling: 1985, Rome).
1991, Barcelona, Las formas de la poesia, 20–22 March.
1991, Los Angeles, Academy of Motion Picture Arts and Sciences, Pier Paolo Pasolini: The Eyes of a Poet, 11 November – 20 December (travelling: 1985, Roma).
1992, Rome, Palazzo delle Esposizioni, Pier Paolo Pasolini: figuratività e figurazione, 29 February – 23 March.
1992, Lyon, Istituto Italiano di Cultura, Pier Paolo Pasolini: figuratività e figurazione (travelling: 1992, Rome).
1993, Mexico City, Istituto Italiano di Cultura, Pier Paolo Pasolini un cinema di poesia, June (travelling: 1992, Rome).
1993, San Francisco, Castro Theatre, Pier Paolo Pasolini: The Eyes of a Poet, July (travelling: 1992, Rome).
1993, Amsterdam, The Filmuseum, Pier Paolo Pasolini: The Eyes of a Poet, September (travelling: 1992, Rome).
1993, Florence, Teatro Niccolini, Una disperata vitalità, 15–21 February (travelling: 1992, Rome).
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, Thessaloniki, Pier Paolo Pasolini: The Eyes of a Poet, 13–25 May (travelling: 1992, Rome).
1994, Berlin, Akademie der Künste, Pier Paolo Pasolini: The Eyes of a Poet, 15 September – 20 October (travelling: 1992, Rome).
1996, Los Angeles, MOCA – The Museum of Contemporary Art, Hall of Mirrors: Art and Film since 1945, 16 March – 28 July, curated by Kerry Brougher.
1996-1997, Columbus, Wexner Center for the Arts, Hall of Mirrors: Art and Film since 1945, 20 September 1996 – 5 January 1997, curated by Kerry Brougher (travelling: 1996, Los Angeles).
1997, Rome, Palazzo delle Esposizioni, La stanza degli specchi: Arte e film dal 1945, 2 July – 1 September, curated by Kerry Brougher (travelling: 1996, Los Angeles).
1997-1998, Chicago, MCA’s Contemporary Art Circle, Hall of Mirrors: Art and Film since 1945, 11 October 1997 – 21 January 1998, curated by Kerry Brougher (travelling: 1996, Los Angeles).
1999, New York, Thread Waxing Space, Foul Play, 30 September – 20 November, curated by Cheryl Kaplan, Asia Ingalls.
2003, Tourcoing-Lille, Le Fresnoy, Studio national des arts contemporains, Fabio Mauri – L’écran mental, 1 March – 27 April, curated by Dominique Païni.
2005, Turin, Archivio di Stato – Palazzo Reale, Pasolini e noi: Relazioni tra arte e cinema, 2 November – 4 December, curated by Laura Cherubini.
2005, Rome, Istituto Nazionale per la Grafica – Calcografia, Pasolini e noi: Relazioni tra arte e cinema, 2 November – 4 December, curated by Laura Cherubini.
2008-2009, Prato, Centro per l’Arte Contemporanea Luigi Pecci, 1988: vent’anni prima, vent’anni dopo, 1 November 2008 – 15 February 2009, curated by Marco Bazzini.
2012, Milan, Palazzo Reale, Fabio Mauri – The End, 19 June – 23 September, curated by Francesca Alfano Miglietti.
2012, New York, World Financial Center, Telegrams on the table, 1–30 September, curated by Cheryl Kaplan.
2012-2013, New York, MoMa PS1, Pier Paolo Pasolini: Intellettuale, 16 December 2012 – 5 January 2013.
2014-2015, Antwerp, Extra City Kunsthal and Middelheim Museum, Extra City: Allegory of the Cave Painting / The other way around, 20 September 2014 – 29 March 2015, curated by Mihnea Mircan.
2016-2017, Naples, Museo Madre, Retrospettiva a luce solida, 26 November 2016 – 6 March 2017, curated by Laura Cherubini, Andrea Viliani.
2018, Castelbasso (Teramo), Fondazione Malvina Menegaz, Fabio Mauri 1968-1978, 22 July – 2 September, curated by Laura Cherubini.
2021, Minneapolis, Walker Art Center, The Paradox of Stillness: Art, Object, and Performance, 15 May – 8 August, curated by Vincenzo De Bellis.
2022, Nice, MAMAC – Musée d’Art Moderne et d’Art Contemporain, Vita Nuova: Nouveaux enjeux de l’art en Italie 1960-1975, 14 May – 2 October, curated by Valérie Da Costa.
2022-2023, Rome, Palazzo delle Esposizioni, Pier Paolo Pasolini. Tutto è santo / Il corpo poetico, 19 October 2022 – 26 February 2023, curated by Giuseppe Garrera, Cesare Pietroiusti, Clara Tosi Pamphili.
2022, Rivoli (Turin), Castello di Rivoli Museo d’Arte Contemporanea, Omaggio a Pier Paolo Pasolini, 3–6 March, curated by Carolyn Christov-Bakargiev.
2023, Milan, Palazzo della Triennale, Reversing the Eye. Fotografia, film e video negli anni dell’arte povera, 17 May – 3 September, curated by Quentin Bajac, Diane Dufour, Giuliano Sergio, Lorenza Bravetta (travelling: 2022, Paris).
2023, Zurich, Hauser & Wirth, Fabio Mauri. Amore mio, 30 September – 23 December, curated by Olivier Renaud-Clément.
2024, Principality of Monaco, Nouveau Musée National de Monaco, Pasolini in chiaroscuro, 29 March – 29 September, curated by Guillaume de Sardes.
“Senza ideologia di Fabio Mauri”, in Flash Art, no. 60–61, Giancarlo Politi Editore, Milan, December 1975, p. 15.
Fabio Mauri, “Proiezioni su oggetti, Una mostra di Fabio Mauri a Milano”, in Domus, no. 562, Milan, September 1976, p. 53 (ill.).
Marilena Pasquali, “Intellettuale. Installazione fotografica”, in La performance: Bologna, 1977 Galleria comunale d’arte moderna, exhibition catalogue, Galleria Comunale d’Arte Moderna, Bologna (Pollenza-Macerata: La nuova foglio editrice, 1978), n.p. (ill.).
Fabio Mauri, Le proiezioni 1970-1978 (Macerata / Falconara: La nuova foglio editrice - piano inclinato / Galleria del Falconiere, 1978), n.p. (ill.).
Philip Monk, “Fabio Mauri at "A Space"”, in Artists Review, no. 3, Toronto, 27 October 1978, p. 2.
René Blouin, “Fabio Mauri”, in Parachute, no. 14, Montréal, 1979, p. 27 (ill.).
Documenti per l’arte contemporanea. Fabio Mauri: Che cosa è, se è, l’ideologia nell’arte, no. 11, Il Bagatto, edited by Simonetta Lux, Rome, 1984, p. 21 (ill.) .
Fabio Mauri, “Rapporto di un curatore ”, in Bologna incontri, Year XVI, no. 11, Bologna, November 1985, p. 17.
Fabio Mauri, “Intellettuale. Vangelo secondo Matteo di/su Pier Paolo Pasolini 1975/1985”, in Pier Paolo Pasolini. La forma dello sguardo, exhibition catalogue, Mercati Traianei, Rome, edited by Fabio Mauri (Rome: Graf, 1985), pp. 34–35 (ill.).
Pier Paolo Pasolini: Une vie future, edited by Laura Betti, Sergio Vecchio (Rome: Associazione Fondo Pier Paolo Pasolini, 1987), pp. 394–395 (ill.).
Fabio Mauri, “Azione del 31 maggio 1975 a Bologna, Galleria Comunale d'Arte Moderna: "Il Vangelo secondo Matteo" proiettato sul petto di Pier Paolo Pasolini”, in Pier Paolo Pasolini. Una vita futura (Rome: Associazione “Fondo Pier Paolo Pasolini” / Ente Autonomo Gestione Cinema, 1988), n.p. (ill.).
Fabio Mauri, “Azione del 31 maggio 1975 a Bologna, Galleria Comunale d'Arte Moderna: "Il Vangelo secondo Matteo" proiettato sul petto di Pier Paolo Pasolini”, in Pier Paolo Pasolini. Ein zukünftiges Leben (Rome: Associazione “Fondo Pier Paolo Pasolini”, 1988), (ill.).
L’Immagine, edited by Giovanni Damiani (Milan: Pragma Libri / Carlini editore, 1989), p. 41 (ill.).
Flash Art, no. 154, Giancarlo Politi Editore, Milan, February–March 1990, p. 78 (ill.).
Francesca Alfano Miglietti, Arte Pericolosa (Milan: Prearo Editore, 1991), p. 126 (ill.).
Pier Paolo Pasolini. Figuratività e figurazione, exhibition catalogue, Palazzo delle Esposizioni, Rome, edited by Duccio Trombadori (Rome: Carte Segrete, 1992), pp. 69–77.
Domenico Scudero, “Impressioni ideologiche”, in Art in Italy, no. 2, Verona, 1993, p. 15 (ill.).
Pier Paolo Pasolini. La forma dello sguardo, exhibition catalogue, Arengario, Milan (Milan: Edizioni Charta, 1993), pp. 80–85 (ill.).
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), pp. 164–166 (ill.).
Fermata d’autobus, exhibition catalogue, Spazio Flaminio Atac, Rome, edited by Achille Bonito Oliva, Renato Mambor (Rome: Carte Segrete, 1995), p. 91 (ill.).
Fabio Pierangeli, Patrizio Barbaro, Pier Paolo Pasolini: Biografia per immagini (Cavallermaggiore: Gribaudo, 1995), p. 152 (ill.).
Massimo Mininni, Arte in scena: La performance in Italia 1965-1980 (Ravenna: Danilo Montanari Editore, 1995), pp. 132–133 (ill.).
Hall of Mirrors: Art and Film since 1945, exhibition catalogue, MOCA – The Museum of Contemporary Art, Los Angeles, edited by Kerry Brougher, Russell Ferguson (New York: Monacelli Press, 1996), pp. 95–98 (ill.).
La stanza degli specchi: Arte e film dal 1945, exhibition catalogue, Palazzo delle Esposizioni, Rome, edited by Kerry Brougher, Rosella Siligato (Rome: Nuova Àrgos Edizioni, 1997), p. 29.
Fabio Mauri. La meva cosina Marcella i la guerra civil, exhibition catalogue, Fundació “La Caixa”, Barcelona, edited by Martí Peran (Barcelona, 1999), p. 17 (ill.).
Floriano De Santi, “L'arte di Fabio Mauri: un inventario per dare al presente il senso della vita”, in Teléma, Year VI, no. 20, Fondazione Ugo Bordoni, Rome, Spring 2000, p. 122 (ill.).
Giacomo Manzoli, “La pellicola, la telecamera, il corpo e la realtà”, in Cine teca, Year XVII, no. 8, Cineteca di Bologna, Bologna, December 2001, pp. 5, 19 (ill.).
Cine teca, Cineteca di Bologna, Bologna, December 2002, pp. 4–26 (ill.).
Laura Cherubini, “A confronto con Pasolini”, in Tema Celeste, no. 93, Siracusa, September–October 2002, pp. 60–61 (ill.).
Brunella Torresin, “Nel '75 inaugurò il museo. La Cineteca lo rievoca”, in la Repubblica, Rome, 26 January 2002, p. XI (ill.).
Fabio Mauri. L’écran mental, exhibition catalogue, Le Fresnoy, Studio national des arts contemporains, Tourcoing-Lille, edited by Dominique Païni (Lille, 2003), pp. 58–59 (ill.).
Ludovico Pratesi, “L'uomo che proiettò Gesù sul corpo di Pasolini”, in Il Venerdì, no. 780, Rome, 28 February 2003, p. 98 (ill.).
Manou Farine, “Fabio Mauri, l'indispensable hommage”, in L’oeil, no. 546, Artclair editions, Lille, April 2003, p. 107 (ill.).
Manuela De Leonardis, “Intellettuale: Mauri - Pasolini - Masotti”, in Acta Photographica, no. 3, Istituto Centrale per il catalogo e la Documentazione, Bologna, 2004, pp. 124–125 (ill.).
Manuela De Leonardis, “La tempesta sospesa sull'infinito”, in il manifesto, Rome, 20 November 2004, p. 14 (ill.).
Laura Cherubini, “Fabio Mauri. Una radiografia dello spirito”, in Pasolini e noi: Relazioni tra arte e cinema, exhibition catalogue, Archivio di Stato and Palazzo Reale, Turin; Calcografia Nazionale, Rome, edited by Laura Cherubini (Cinisello Balsamo: Silvana Editoriale, 2005), pp. 14–23, 31–34 (ill.).
Pasolini e Roma, exhibition catalogue, Museo di Roma in Trastevere, Rome, edited by Enzo Siciliano, Federica Pirani (Cinisello Balsamo: Silvana Editoriale, 2005), p. 143 (ill.).
Mariano Apa, “Fabio Mauri. "In preghiere e opere"”, in Accademia ’05. Un album di esercizi, edited by Mariano Apa (L’Aquila: Accademia di Belle Arti, 2006), pp. 175–177 (ill.).
Miriam Mirolla, “Intervista”, in Miriam Mirolla, L’art c’est moi: Quindici interviste sull’arte contemporanea (Rome: Avagliano Editore, 2006), p. 199 (ill.).
Miriam Mirolla, “Intervista”, in Miriam Mirolla, L’art c’est moi: Quindici interviste sull’arte contemporanea (Rome: Avagliano Editore, 2006), p. 199 (ill.).
Fabio Mauri, Scritti in mostra. L’avanguardia come zona 1958-2008, edited by Francesca Alfano Miglietti (Milan: il Saggiatore, 2008), pp. 118–120, 204–207 (ill.).
Stefano Chiodi, “Attraversando lo specchio dell'ideologia. Intervista con Fabio Mauri”, in Flash Art, Year XLII, no. 277, Milan, August–September 2009, p. 48 (ill.).
Angelo Capasso, “Quando la Storia si trasforma in arte”, in Liberal, Rome, 26 September 2009, p. 20 (ill.).
Fabio Mauri, Io sono un ariano (Milan: Lampi di stampa, 2009), pp. 159–168 (ill.).
Martina Cavallarin, “Mauri-Pasolini, un incontro definitivo”, in Roma ’60, exhibition catalogue, Palazzo del Monferrato, Alessandria, edited by Luca Beatrice (Cinisello Balsamo: Silvana Editoriale, 2010), p. 287.
Giacinto Di Pietrantonio, “Fabio Mauri. Arte e cinema (intervista)”, in Perché non parli? Le discipline dell’arte contemporanea raccontate dagli autori, edited by Giacinto di Pietrantonio, Francesca Guerisoli, Gabi Scardi (Cologno Monzese: Silvia Editrice, 2010), pp. 197–198.
Luca Caminati, Il cinema come happening: Il primitivismo pasoliniano e la scena (Milan: Postmedia data, 2010), pp. 6–7, 32–37 (ill.).
Paolo Colagrande, “Gli intellettuali sono tutti morti. La performance di Fabio Mauri”, in l’Unità, Year 87, no. 256, Rome, 20 September 2010, pp. 34–35 (ill.).
Bartolomeo Pietromarchi, Italia in opera: La nostra identità attraverso le arti visive (Turin: Bollati Boringhieri, 2011), pp. 120–122 (ill.), 148–149.
Fabio Mauri, “Intellettuale. Vangelo secondo Matteo di/su Pier Paolo Pasolini 1975/1985”, in Il caos #3, exhibition catalogue, Isola di San Servolo, Venice, edited by Raffaele Gavarro (Milan: Maretti editore, 2011), pp. 110–117 (ill.).
Elena Volpato, “Fabio Mauri: starting from the end”, in Mousse, no. 29, Milan, Summer 2011, pp. 149, 151 (ill.).
Fabio Mauri. The End, exhibition catalogue, Palazzo Reale, Milan, edited by Francesca Alfano Miglietti (Milan: Skira, 2012), pp. 25–30 (ill.).
L’Europeo, Year XI, no. 1, Milan, 2012, p. 79 (ill.).
Barbara Casavecchia, “Body Politics”, in Frieze, no. 147, London, May 2012, pp. 181 (ill.), 185.
Laura Cherubini, “Projections”, in Fabio Mauri. Ideology and Memory, edited by Studio Fabio Mauri (Turin: Bollati Boringhieri, 2012), pp. 87–88, 93 (ill.).
Lo sguardo espanso: Cinema d’artista italiano 1912-2012, exhibition catalogue, Complesso Monumentale del San Giovanni, Catanzaro, edited by Bruno di Martino, Marco Meneguzzo, Andrea La Porta (Cinisello Balsamo: Silvana Editoriale, 2012), p. 124 (ill.).
Federica Boràgina, Fabio Mauri. Che cosa è, se è, l’ideologia nell’arte (Catanzaro: Rubbettino editore, 2012), pp. 52–53, no. 5, p. 53 (ill.).
Libération, Paris, 16 October 2013, p. IV (ill.).
Il Sole 24 ore – Domenica, Milan, 24 February 2013, p. 53 (ill.).
Mousse, no. 42, Milan, February–March 2014, p. 138 (ill.).
Ennesima. Una mostra di sette mostre sull’arte italiana, exhibition catalogue, Palazzo della Triennale, Milan, edited by Vincenzo De Bellis (Milan: Mousse Publishing, 2015), Vol. “La performance dal tempo sospeso: il tableau vivant tra realtà e rappresentazione”, pp. 90 (ill.), 69–73.
Corinne Pontillo, Di luce e morte: Pier Paolo Pasolini e la fotografia (Catania: Duetredue edizioni, 2015), cover (ill.), p. 169.
Fabio Mauri. Archivio di memoria, edited by Dionigi Mattia Gagliardi (Rome: Numero cromatico editore, 2015), pp. 128–129 (ill.).
Raja El Fani, “Godfathering political art”, in Damn, no. 50, Gent, May–June 2015, pp. 99–100 (ill.).
l’Unità, Year 92, no. 4, Rome, 3 July 2015, pp. 18–19 (ill.).
Fabio Mauri 1968-1978, exhibition catalogue, Fondazione Malvina Menegaz, Castelbasso (Teramo), edited by Laura Cherubini (Cinisello Balsamo: Silvana Editoriale, 2018), pp. 23, 62–67 (ill.).
Valérie Da Costa, Fabio Mauri: le passé en actes (Dijon: Les presses du réel, 2018), nn. 103–105, pp. 186–189 (ill.).
Mu6: Fabio Mauri a Castelbasso, Year XIII, no. 36, L'Aquila, August 2018, p. 3 (ill.).
The Paradox of Stillness: Art, Object, and Performance, exhibition catalogue, Walker Art Center, Minneapolis, edited by Vincenzo De Bellis (Minneapolis: Walker Art Center, 2020), pp. 152–153 (ill.).
Laura Cherubini, Contro corrente: I grandi solitari dell’arte italiana: Alighiero Boetti, Gino De Dominicis, Luciano Fabro, Fabio Mauri, Vettor Pisani, Marisa Merz (Milan: Christian Marinotti edizioni, 2020), pp. 116–117.
After Pasolini: Visions of Today, exhibition catalogue, Center for Contemporary Art, The Ancient Bath, Plovdiv, edited by Bettina Steinbrügge, Benjamin Fellmann (Plovdiv: Art Today Association – Center for Contemporary Art, 2020), pp. 121–124 (ill.).
Marcella Vanzo, “Il corpo si fa poesia. Fabio Mauri e le sue prime performance”, in Artedossier, no. 387, Florence, May 2021, pp. 40–41 (ill.).
Hidden Displays 1975-2020: Progetti non realizzati a Bologna, exhibition catalogue, MAMbo – Museo d’Arte Moderna di Bologna, Bologna, edited by Elisabetta Modena, Valentina Rossi (Bologna: MAMbo – Museo d’Arte Moderna di Bologna, 2021), pp. 24, 26–29 .
Vita Nuova: Nouveaux enjeux de l’art en Italie 1960-1975, exhibition catalogue, MAMAC – Musée d’Art Moderne et d’Art Contemporain, Nice, edited by Valérie Da Costa (Gand: Snoek, 2022), p. 139 (ill.).
Andrea Cortellessa, “L'opera contro il mito. Pasolini uno e bino”, in Enciclopedia italiana, Year V, no. 10, Treccani, Rome, March 2022, pp. 84–89 (ill.).
Stefano Chiodi, “De la voix à la préence. Le corps du poète à l'époque du spectacle”, in Stefano Chiodi, Valérie Da Costa, L’espace des images: Art et culture visuelle en Italie 1960-1975 (Paris: Manuella Éditions, 2022), pp. 110–111 (ill.).
Pier Paolo Pasolini Tutto è santo / Il corpo poetico, exhibition catalogue, Palazzo delle Esposizioni, Rome, edited by Giuseppe Garrera, Cesare Pietroiusti, Clara Tosi Pamphili (Milan: 5 Continents Editions, 2022), pp. 57, 213.
Stefano Mauri, “L'immaginazione ci salverà”, in Il Libraio, Milan, February 2022, p. 1 (ill.).
Marco Antonio Bazzocchi, “Non esiste la fine (Nun esiste la fine)”, in Pier Paolo Pasolini: Folgorazioni figurative, exhibition catalogue, underpass at Piazza Re Enzo, Bologna, edited by Marco Antonio Bazzocchi, Roberto Chiesi, Gian Luca Farinelli (Bologna: Edizioni Cineteca di Bologna, 2022), cover, pp. 290–297 (ill.).
Mauri, edited by Flaminio Gualdoni (Milan: Corriere della Sera, 2022), pp. 42–45 (ill.).
Claudio Crescentini, “‘Intimità di Pasolini’ e Fabio Mauri. Note a margine fra “Il Setaccio” e Intellettuale”, in Pasolini pittore, exhibition catalogue, Galleria d’Arte Moderna, Rome, edited by Silvana Cirillo, Claudio Crescentini, Federica Pirani (Cinisello Balsamo: Silvana Editoriale, 2022), p. 76 (ill.).
Sara Codutti, “Fabio Mauri, Bologna 1938-1978: poesia, ideologia, azione”, in La performance a Bologna negli anni ’70, edited by Uliana Zanetti (Bologna: Settore Musei Civici Bologna / MAMbo – Museo d’Arte Moderna di Bologna, 2023), p. 265 (ill.).
Anne Frémy, L’image édifiante (Paris: Éditions de la Villette, 2023), p. 153 (ill.).
Guillaume de Sardes, “Pasolini. The friendship with Fabio Mauri”, in Pasolini in chiaroscuro, exhibition catalogue, Nouveau Musée National de Monaco, Principality of Monaco, edited by Guillaume de Sardes (Paris: Flammarion, 2024), pp. 93–101.
Bartolomeo Pietromarchi, “Pasolini: The Art Surrounding His Death and His Body”, in Pasolini in chiaroscuro, exhibition catalogue, Nouveau Musée National de Monaco, Principality of Monaco, edited by Guillaume de Sardes (Paris: Flammarion, 2024), p. 211.
Roberto Andreotti, Federico De Melis, “Allegria e angoscia di un decostruttore”, in Alias, Rome, 31 August 2025, pp. 8, 11 (ill.).
