An environment created for the 13th Triennale di Milano. Several artists were invited to tackle the theme of ‘the quality of our “free time”, questioning the very concept of free time as historically formed and stratified.’1 In the space designed by Vittorio Gregotti, between silver-coloured stairs, a series of cubes opened up in which Fabio Mauri, Enrico Baj, Luciano Del Pezzo, Roberto Crippa, Nanni Balestrini, Achille Perilli, Lucio Fontana and Nanda Vigo displayed their environments. Mauri papered the walls of his assigned space with blow-ups of ‘actors and details from films. At the edges, he had a frame with “The end” and a colour photo with four purple circles. On the blue floor at the entrance, on a square stone words referred to movie actors. Four old wooden armchairs, from the days of silent movies, face the screens at the bottom of the shaft.’2 ‘My cube was designed as a cathedral in cross-section. It was possible to view “frescoes” of cinema on the walls: large pictures of famous movies depicting aspects of life. A projector against a white wall emanated the palpitation of the movies. Everything is seen and deciphered through the screen; moral judgments and phenomenological parables are always made through it. Even if interested only in him, Art is not man.’3

1. U. Eco, V. Gregotti in Tredicesima Triennale di Milano. Tempo libero, catalogue of the exhibition (Palazzo dell’Arte al Parco, Milan, 1964), Milan, 1964, p. 14.
2. Ibid., p. 18.
3. F. Mauri in A. Madesani, Le icone fluttuanti, Bruno Mondadori, Milan, 2002, p. 180.