Screen-drawing characterised by a black frame painted along the sheet’s edges, defining a white ‘field for projection’ within which a black screen-drawing stands out, in turn containing another. ‘IN MORTE’ (IN DEATH) is inscribed in yellow spray-paint (see also inv. 982) at the centre of the smaller screen, echoing the phrase ‘THE END’ (or ‘FINE’), a leitmotif in Mauri’s work: ‘In my schermi, from the very beginning, the words “The End” sometimes appear, as they appear, as they used to appear and sometimes still do in the movies. Is it death (I have been asked repeatedly for years)? That’s as may be. Indeed it is certain, because death is certain. But it is also a sign of delimitation for a story, for a morality enclosed in a narrative time frame. In effect, each work extracts from the chance or endlessness of life, from its inexplicable inexplicability, a portion of present meaning.’1

1. F. Mauri, ‘Arte e cinema’, interview by G. Di Pietrantonio, in Perché non parli?, edited by G. Di Pietrantonio,
F. Guerisoli, G. Scardi, Silvia Editrice, Milan, 2010, p. 195.