DIMENSIONS: 70 × 100 cm
INSCRIPTIONS: Signed and dated on the recto, lower left: ‘mauri 75’.
Signed on the verso of the frame, upper right: ‘Fabio Mauri’
PROVENANCE: The artist
COLLECTION: Private collection, Rome
CATALOGUE: PT_1975_261
Screenprint on paper from the Leo Castelli series, composed of around forty drawings, cut-outs and screenprints, characterised by the inscription ‘Leo Castelli/4 East 77 New York.’ As Mauri explained, ‘A great American art dealer, whose address stands in for all other artwork content.’ Mauri specified that the operation was meant to be ironic rather than aggressive, a social rather than a political series, focusing on ‘art society’.1 This work features a prominent rectangle-screen, above which the phrase ‘the end’ is displayed, a recurring theme in Mauri’s work and an indicator of a projection that has already taken place.
1. F. Mauri, ‘Leo Castelli’, in Fabio Mauri. Opere e azioni 1954-1994, catalogue of the exhibition (Galleria Nazionale d'Arte Moderna e Contemporanea, Rome), edited by Carolyn Christov-Bakargiev, Marcella Cossu, Editoriale Giorgio Mondadori e Carte Segrete, Rome 1994, p. 151.
2015, Venice, Giardini di Castello, Central Pavilion, 56. Esposizione Internazionale d’Arte – All the World’s Futures, 9 May – 22 November, curated by Okwui Enwezor.
2016-2017, Bergamo, GAMeC, Fabio Mauri: Arte per legittima difesa, 7 October 2016 – 15 January 2017, curated by Giacinto Di Pietrantonio.
2019, Herning, Heart Museum, Fabio Mauri: The End, 23 March – 25 August, curated by Michael Bank Christoffersen.
2023, Zurich, Hauser & Wirth, Fabio Mauri. Amore mio, 30 September – 23 December, curated by Olivier Renaud-Clément.
56. Esposizione Internazionale d’Arte: All the World’s Futures: Mostra, exhibition catalogue, La Biennale, Venice, edited by Okwui Enzewor (Venice: Fondazione La Biennale di Venezia / Marsilio, 2015), p. 615.
Fabio Mauri. Arte per legittima difesa, exhibition catalogue, GAMeC, Bergamo, edited by Giacinto Di Pietrantonio (Bergamo: GAMeC Books, 2016), p. 116 (ill.).
