MATERIALS: Composition of objects on wooden base
DIMENSIONS: 72 × 50.2 × 50.2 cm
Objects: 26 × 50.2 × 50.2 cm
Base: 46 × 45 × 46 cm
PROVENANCE: The artist
COLLECTION: Associazione per l’Arte L’Esperimento del Mondo, Rome
CATALOGUE: O_1971_316
A composition of painting tools and materials arranged on a wooden base: a hand-held metal sprayer, German-brand fabric inks, a black cloth cut-out, two brushes on a metal plate, and a tin can covered with a sheet of parchment. The work was part of the ‘Ebrea’ exhibition-installation (inv. 3476) and, similarly to the other objects, in its title renders the dystopia of a world marked by the fulfilment of the Nazi plan whereby racialised bodies, reduced to mere organic matter, 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.
2018, New York, Hauser & Wirth, With Out, 25 January – 7 April, curated by Olivier Renaud-Clément.
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. 68 (ill.).
Fabio Mauri, Der Politische Ventilator (Milan: Achille Mauri – Krachmalnicoff, 1973), pp. 52–53 (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), p. 50.
