Graphic panel published in January 2000 in Rivista d’artista, a ‘periodical edited and printed by the Eos Cultural Association’ in Rome, curated by Piero Varroni. The work accompanied Mauri’s text, ‘Il bisnonno mortale’ (The Mortal Great-grandfather), which addressed the theme of memory in relation to the Quadreria work, displayed that same year at Villa Medici in Rome (inv. 439). The graphic consists of photocopied, cut-out and juxtaposed Gothic capital letters, forming an apparently illegible block of text. However, on closer inspection, the names of the artist and his intellectual friends are concealed among meaningless strings of letters, the same ones that appear on the plaque for the aforementioned installation. ‘I’m saying that memory is the mind. A dynamic of life, in which in a single time and place I perceive the world […] Whoever was there, moves, in clear sequences, open to the sides (the future, already known to me, can enter). What you see proceeds on its own in random sequences of the crucial plot that is living, the truth of having lived of life, identical to how it appears at the moment of observation.’1

1. F. Mauri, ‘Il bisnonno mortale’, in Carte d’Arte Internazionale, Messina, December 1999, p. 10.