MATERIALS: Wooden and plaster with horse hair, leather saddle and harness, wool, fabric, wooden base and brass plate
DIMENSIONS: 180 × 201 × 52 cm
PROVENANCE: The artist
COLLECTION: Fabio Mauri Estate, Rome
CATALOGUE: O_1971_311
Mauri covered a sculpture consisting of a wood and plaster horse in leather harnesses, onto which he burned Second World War-related names and symbols – ‘Kutschera General’, ‘Mozurske Slesia’, ‘9934719 Wspomnienia’ – along with various Stars of David, SS symbols, etc. A brass plaque on the wooden platform that serves as the horse’s base bears the words ‘Finimenti in pelle ebrea. Alta scuola militare Oberklandertan-Wien’ (Jewish Leather Linings Oberklandertan-Vienna High Military School). Part of the ‘Ebrea’ exhibition-installation (inv. 3476), the work initially included a black plate hanging from the horse’s neck with the white inscription ‘THE END’ in the centre (inv. 1024). This was removed for the 1993 Venice Biennial.
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).
1972-1973, Bologna, Museo Civico, Tra rivolta e rivoluzione – Immagine e progetto, November 1972 – January 1973, curated by Franco Solmi, Concetto Pozzati.
1974, Milan, Galleria Cenobio Visualità, “D.P.V.”: Ebrea, 13 February.
1978, Bologna, Galleria d’Arte Moderna and church of Santa Lucia, Metafisica del quotidiano, 1 June – 31 August, curated by Franco Solmi, Marilena Pasquali.
1981, Rome, Palazzo delle Esposizioni, Linee della ricerca artistica in Italia 1960-1980, 14 February – 15 April, curated by Nello Ponente.
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.
1995, Grosseto, Cassero Senese, Trasparenze. Il Sogno del Cavallo, 23 September – 8 October, curated by Giorgio Celli.
1997, Klagenfurt, Kunsthalle, Fabio Mauri. Male e bellezza / Das Böse und das Schöne, 24 April – 30 June, curated by Arnulf Rohsmann.
2012, Milan, Palazzo Reale, Fabio Mauri – The End, 19 June – 23 September, curated by Francesca Alfano Miglietti.
2013, Civitella del Tronto (Teramo), Bourbon Fortress, Visione Animale, 29 June – 30 September, curated by Giacinto Di Pietrantonio.
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.
Data, Year II, no. 2, Giampaolo Prearo, Milan, February 1972, p. 2 (ill.).
Tra rivolta e rivoluzione, exhibition catalogue, Museo Civico, Bologna, edited by Franco Solmi (Bologna: Ente bolognese manifestazioni artistiche, 1972), pp. 96–97 (ill.).
Franco Gherardi, “Una poltrona fatta con la pelle della signorina Citterich, ebrea”, in Giorni Vie Nuove, Year 2, no. 2, Milan, 12 January 1972, p. 69 (ill.).
Fabio Mauri, Der Politische Ventilator (Milan: Achille Mauri – Krachmalnicoff, 1973), pp. 48–49 (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.).
Paolo Barozzi, Peggy Guggenheim (Milan: Rusconi Immagini, 1983), pp. 152–153.
Maria D'Alesio, “Intervista a Fabio Mauri”, in Next, Year IX, no. 28, Edizioni Joyce & Co., Rome, Spring 1993, p. 22 (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.
Dizionario degli artisti italiani contemporanei, edited by Giancarlo Politi (Milan: Flash Art Books, 1996), p. 191 (ill.).
Fabio Mauri: Male e bellezza – Das Böse und das Schöne, exhibition catalogue, Kunsthalle, Klagenfurt, edited by Arnulf Rohsmann (Klagenfurt, 1997), pp. 11, 111 (ill.).
Dreams and Conflicts: The Dictatorship of the Viewer, exhibition catalogue, La Biennale, Venice, edited by Francesco Bonami (Venice: Marsilio, 2003), p. 639 (ill.).
Fabio Mauri, Io sono un ariano (Milan: Lampi di stampa, 2009), p. 103 (ill.).
Fabio Mauri. The End, exhibition catalogue, Palazzo Reale, Milan, edited by Francesca Alfano Miglietti (Milan: Skira, 2012), p. 46 (ill.).
Laura Cherubini, “Jewess”, in Fabio Mauri. Ideology and Memory, edited by Studio Fabio Mauri (Turin: Bollati Boringhieri, 2012), pp. 58–59 (ill.).
Lea Mattarella, “La storia come tragedia”, in Arte, no. 467, Milan, July 2012, p. 81 (ill.).
Ada Masoero, “I vergognosi finimenti di Mauri”, in Il Sole 24 ore – Domenica, Year 148, no. 201, Milan, 22 July 2012, p. 39 (ill.).
Silvano Manganaro, “La storia tra furia e memoria”, in Il Giornale dell'Arte – Vernissage, Year XXX, no. 321, Turin, June 2012, p. 8 (ill.).
Fabio Mauri, exhibition catalogue, Fundación PROA, Buenos Aires, edited by Giacinto Di Pietrantonio (Buenos Aires, 2014), pp. 42–43 (ill.).
Fabio Mauri. Arte per legittima difesa, exhibition catalogue, GAMeC, Bergamo, edited by Giacinto Di Pietrantonio (Bergamo: GAMeC Books, 2016), p. 97 (ill.).
Mauri, edited by Flaminio Gualdoni (Milan: Corriere della Sera, 2022), p. 20 (ill.).
