PERFORMER: A young woman
PROPS: A cabinet with mirror and accessories, a nail, a shirt
DIMENSIONS: Cabinet: 59.9 × 39 × 22 cm
DURATION: Variable, about 50 min.
DOCUMENTATION: Photographs, video
RE-ENACTMENTS: Yes
INSCRIPTIONS: Signed and dated inside the cabinet ‘Armadietto 1971 / [replica con varianti dell’originale di proprietà del Jewish Museum di New York] / Fabio Mauri 2001’
COLLECTION: Fabio Mauri Estate, Rome
CATALOGUE: P_1971_3476
On 1 October 1971, almost exactly six months after the Che cosa è il fascismo performance, the ‘Ebrea’ exhibition opened at the Galleria Barozzi in Venice. A chilling collection of objects filled the exhibition space: skates, a chair, a piece of jewellery, a pair of skis, a baby carriage, a harnessed horse, a suitcase, a glove, bars of soap, brushes, a piece of jewellery ... Brass plates affixed to the objects certified their workmanship, stating they were made from the hides, fat, teeth and other parts of bodies racialised as Jews (cat. 309–326). In the far corner, the only living body in this designer graveyard, a young woman stood in front of a bathroom cabinet, naked. Slowly, with a pair of scissors, she cut off strands of hair and pasted them, a few at a time, onto the glass of a mirror, drawing out a Star of David, the symbol of an unchosen identity, the sole reason for her doom. Three large, metal-profiled stars, with a black plaque in the centre, displayed a biblical passage from the prophet Jeremiah in Hebrew: ‘A voice is heard in Ramah, lamentation and bitter weeping. Rachel is weeping for her children; she refuses to be comforted for her children, because they are no more.’ In the mimeograph introducing the exhibition, Mauri states: ‘In Ebrea (anti)-Jewish racism stands in for Negro racism, or for any other species or sub-species of racism. The law of which may ultimately be summed up as: discriminating against man because of a lack of value. Or, equally, of a value […] In Europe, in the 1930s and 1940s, racism had a scientific matrix: it asserted there are races, some of which are superior. Two notions I recognised as false, even if the former is still vulgarly abroad.’ The tragedy of the Shoah is here taken as an exemplum of the racist aberration that, in the name of ideology, exercises the right to deny humanity, reducing ‘others’ to mere bodies, meat for slaughter, raw materials for exploitation. Once again, Mauri takes us on a spiritual exercise, forcing us to look horror in the face.2 ‘With my own hands, I patiently recompense the experience of turpitude. I explore its mental possibilities. By extending the act, I invent new objects made of new men. In passing, I have intruded into the secular security of contemporary “design”, so confident in “progress”. That may well be. I act as if that reality (the historical) has not had its final sentencing, but has continued to add data up to the present day.’3 As Barilli wrote, the logic underpinning this operation was a reductio ad absurdum, that is, ‘to follow erroneous reasoning to the point of bringing out its basic wrongness; in rhetorical-stylistic terms, use of certain ironic figures, pretending to be within certain shoes in order more easily to pillory them’.4 The exhibition generated a great deal of scandal; it also attracted much participation, to the extent that in 1971 alone it was repeated four times in three months in four different cities. So credible did the operation turn out to be that the artist was not infrequently asked where he found the hides and other Jewish materials, even if they were evidently pure fiction. Over the years, depending on situations and spaces, the installation was repurposed with different combinations of objects, sometimes individual pieces, with or without the performance.
1. On the concept of spiritual exercise in Mauri, see also, Che cosa è il fascismo, inv. 3474.
2. F. Mauri, Ebrea, exhibition text, 1971, published in Fabio Mauri, Scritti in mostra. L'avanguardia come zona 1958–2008, edited by Francesca Alfano Miglietti, (Milan: il Saggiatore, 2008), p. 29.
3. R. Barilli in F. Mauri, Der Politische Ventilator (Milan: Achille Mauri – Krachmalnicoff, 1973), p. 43.
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.
1975, Torre del Greco (Naples), Teatro Laboratorio, Ebrea (action), in Il corpo come linguaggio, 18 January.
1978, Vancouver, Western Front Gallery, Language is war, 19 September – 1 October.
1992, Milan, Studio Casoli, Fabio Mauri. 3 performances, 8 April, curated by Carolyn Christov-Bakargiev.
1992, Rome, Convent of Sant’Egidio, Molteplici Culture, 19 May – 19 June, curated by Carolyn Christov-Bakargiev, Ludovico Pratesi.
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.
1997, Geneva, Orangerie, Ebrea (action), in La Bâtie. Festival de Genève, 11 September.
2014, Buenos Aires, Fundación PROA, Fabio Mauri, 6 September – 23 November, curated by Giacinto Di Pietrantonio.
2016-2017, Bergamo, GAMeC, Fabio Mauri: Arte per legittima difesa, 7 October 2016 – 15 January 2017, curated by Giacinto Di Pietrantonio.
2018, New York, Hauser & Wirth, With Out, 25 January – 7 April, curated by Olivier Renaud-Clément.
2020, Florence, Museo del Novecento, Fabio Mauri: Solo, 23 January – 30 April, curated by Giovanni Iovane, Sergio Risaliti.
Data, Year II, no. 2, Giampaolo Prearo, Milan, February 1972, p. 2 (ill.).
Elvira Cassa Salvi, “Ebrea di Fabio Mauri”, in NAC, no. 1, Edizioni Dedalo, Milan, January 1972, p. 17.
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. 33–67 (ill.).
Lea Vergine, “Bodylanguage”, in Art and Artists, no. 102, Colin Naylor, London, September 1974, cover, p. 23 (ill.).
Il Sistema, Year I, no. 5–6, Edisistem, Rome, July 1974, p. 33 (ill.).
Lea Vergine, Il corpo come linguaggio (La “Body-art” e storie simili) (Milan: Giampaolo Prearo Editore, 1974), n.p. (ill.).
Amalia Rinaldi, “Contro il razzismo di oggi e di ieri”, in Tempo, Year XXXVI, no. 9, Milan, 1 March 1974, p. 66 (ill.).
Tommaso Trini, “Fabio Mauri: Il linguaggio è guerra”, in Data, Year IV, no. 11, Milan, Spring 1974, p. 51 (ill.).
Catalogo nazionale Bolaffi. Segnalati Bolaffi 1977 - 59 artisti scelti da 60 critici (Turin: Giulio Bolaffi editore, 1976), p. 111 (ill.).
Metafisica del quotidiano, exhibition catalogue, Galleria Comunale d’Arte and Church of Santa Lucia, Bologna, edited by Franco Solmi, Marilena Pasquali (Bologna, 1978), pp. 40 (ill.), 42–43.
Arte e Critica 1980, exhibition catalogue, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, edited by Ida Panicelli (Rome: De Luca editore, 1980), p. 114 (ill.).
Identité italienne. L’art en Italie depuis 1959, exhibition catalogue, Centre Pompidou, Paris, edited by Germano Celant (Florence: Centro Di Edizioni, 1981), p. 402.
Paolo Barozzi, Peggy Guggenheim (Milan: Rusconi Immagini, 1983), pp. 152–153.
Documenti per l’arte contemporanea. Fabio Mauri: Che cosa è, se è, l’ideologia nell’arte, no. 11, Il Bagatto, edited by Simonetta Lux, Rome, 1984, cover (ill.), p. 2.
Lara-Vinca Masini, Arte contemporanea. La linea dell’unicità: Arte come volontà e non rappresentazione (Florence: Giunti, 1989), p. 1068 (ill.).
Francesca Alfano Miglietti, Arte Pericolosa (Milan: Prearo Editore, 1991), p. 145 (ill.).
La pietra svelata: Contributi alla seconda Biennale ’91 / ’92, edited by Andrea Taddei (L’Aquila, 1992), pp. 92–93 (ill.).
Carolyn Christov-Bakargiev, “Fabio Mauri. Un appello all'emozione dell'intelligenza”, in Flash Art, no. 170, Giancarlo Politi Editore, Milan, October–November 1992, p. 76 (ill.).
Lara-Vinca Masini, Dizionario del fare arte contemporaneo (Florence: Sansoni Editore, 1992), p. 229 (ill.).
Francesca Alfano Miglietti, “Fabio Mauri. La memoria come guerriglia”, in D’Ars, Year 34, no. 138, Milan, Winter 1992, pp. 32–35 (ill.).
Molteplici culture. Itinerari dell’arte contemporanea in un mondo che cambia, exhibition catalogue, Convent of Sant’Egidio, Rome, edited by Carolyn Christov-Bakargiev, Ludovico Pratesi (Rome: Edizioni Carte Segrete, 1992), p. 125 (ill.).
Maria D'Alesio, “Intervista a Fabio Mauri”, in Next, Year IX, no. 28, Edizioni Joyce & Co., Rome, Spring 1993, cover e pp. 18–19 (ill.).
Maria Silvia Farci, “In viaggio con Ulisse”, in Quadri & Sculture, Year 1, no. 1, Rome, June 1993, p. 13 (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. 48–49.
Shape your body, exhibition catalogue, Galleria La Giarina, Verona, edited by Luigi Meneghelli (Verona: La Giarina, 1994), p. 47 (ill.).
Fabio Mauri. Opere e Azioni 1954-1994, exhibition catalogue, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, edited by Carolyn Christov-Bakargiev, Marcella Cossu (Milan / Rome: Editoriale Giorgio Mondadori / Carte Segrete, 1994), pp. 121–129 (ill.).
Alessandra Mammì, “Com'era pop il Duce!”, in L’Espresso, Milan, 17 June 1994, p. 125 (ill.).
B.N., “Una stella per vestirsi”, in Shalom, no. 10, Rome, November 1994, p. 20 (ill.).
Roma in mostra 1970-1979, exhibition catalogue, Palazzo delle Esposizioni, Rome, edited by Daniela Lancioni (Rome: Edizioni Joyce & Co., 1995), p. 42.
Achille Bonito Oliva, Lezioni di anatomia. Il corpo dell’arte (Rome: Edizioni Kappa, 1995), p. 176 (ill.).
Massimo Mininni, Arte in scena: La performance in Italia 1965-1980 (Ravenna: Danilo Montanari Editore, 1995), p. 113.
Fabio Mauri: Male e bellezza – Das Böse und das Schöne, exhibition catalogue, Kunsthalle, Klagenfurt, edited by Arnulf Rohsmann (Klagenfurt, 1997), pp. 12, 104–107 (ill.).
Fabio Mauri, “Il paziente e il cadavere”, in Tema Celeste, no. 63–64, Siracusa, July–October 1997, p. 96 (ill.).
Il popolo di Mosè: mostra su cultura e civiltà ebraica, exhibition catalogue, Palazzo Ducale, Andria, edited by Giordano Berti (Faenza: Edizioni Le Tarot, 1998), pp. 50–51.
Antonio Del Guercio, Storia dell’arte presente (Rome: Editori Riuniti, 1998), p. 257 (ill.).
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Carolyn Christov-Bakargiev, Arte Povera (London: Phaidon, 1999), p. 45 (ill.).
Claudia Salaris, La Roma delle avanguardie. Dal futurismo all’underground (Rome: Editori Riuniti, 1999), p. 220 (ill.).
Floriano De Santi, “L'arte di Fabio Mauri: un inventario per dare al presente il senso della vita”, in Teléma, Year VI, no. 20, Fondazione Ugo Bordoni, Rome, Spring 2000, p. 121 (ill.).
Lea Vergine, Body art e storie simili: Il corpo come linguaggio (Milan: Skira, 2000), pp. 156–159 (ill.).
Tiziana Litteri, “La provocazione è il mio mestiere. Intervista con Fabio Mauri”, in Ars, Year IV, no. 10, Milan, October 2000, p. 128 (ill.).
Percorso vita, Year III, no. 4, Bologna, November 2000–April 2001, 2000, p. 9 (ill.).
Giuseppe Varchetta, Le tracce dello sguardo (Rome: Luca Sossella Editore, 2001), p. 32 (ill.).
Claudio Abate, 20 anni in atelier (Rome: Volume, 2001), n.p. (ill.).
Katja Lambert, “L'etica dell'estetica. L'arte totale di Fabio Mauri e la sua "memoria responsabile"”, in Luxflux, 2001 (http://www.luxflux.net/MEGAZ/1/articmo.htm), (ill.).
La fotografia negli anni Settanta. Fra concetto e comportamento, exhibition catalogue, Galleria Martano, Turin, edited by Liliana Dematteis, Giovanni Battista Martini, Alberto Ronchetti (Turin: Martano editore, 2002), pp. 36–37 (ill.).
L’incognita dell’altro, exhibition catalogue, Sala dei Templari, Molfetta (Bari), edited by Giacomo Zaza (Molfetta: Comune di Molfetta, 2002), pp. 16, 47 (ill.), 118.
Arte in memoria, exhibition catalogue, Archaeological Park, Ostia, edited by Adachiara Zevi (Rome: Incontri internazionali d’arte, 2002), p. 73 (ill.).
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Adachiara Zevi, “L'arte ‘saggistica’ di Fabio Mauri”, in L’architettura – cronache e storia, no. 575, Rome, 2003, p. 669 (ill.).
Fabio Mauri. L’écran mental, exhibition catalogue, Le Fresnoy, Studio national des arts contemporains, Tourcoing-Lille, edited by Dominique Païni (Lille, 2003), p. 87 (ill.).
Stefano Chiodi, Bartolomeo Pietromarchi, Prototipi (Bologna: Luca Sossella editore, 2004), p. 131 (ill.).
Ori d’artista, exhibition catalogue, Museo del Corso, Rome, edited by Francesca Romana Morelli (Cinisello Balsamo: Silvana Editoriale, 2004), p. 91 (ill.).
Manuela De Leonardis, “La tempesta sospesa sull'infinito”, in il manifesto, Rome, 20 November 2004, p. 14 (ill.).
Il Nudo fra ideale e realtà, exhibition catalogue, Galleria d’Arte Moderna, Bologna, edited by Peter Weiermair (Florence / Milan: Artificio-Skira, 2004), n.p. (ill.).
Elisabetta Catalano, Le fotografie, edited by Laura Cherubini (Turin: Galleria Civica d’Arte Moderna e Contemporanea, 2005), pp. 208–209 (ill.).
Figure dell’arte 1950-2000, edited by Stefania Zuliani (Milan: Modo, 2005), p. 66 (ill.).
Miriam Mirolla, “Intervista”, in Miriam Mirolla, L’art c’est moi: Quindici interviste sull’arte contemporanea (Rome: Avagliano Editore, 2006), pp. 193, 197 (ill.).
Tracce del contemporaneo, exhibition catalogue, Capuchin Convent, Bosa (Oristano), edited by Giacomo Zaza (Bosa, 2006), p. 14 (ill.).
Art Now: Performance Body Art, edited by Flaminio Gualdoni (Milan: Skira / "Corriere della Sera", 2007), p. 42 (ill.).
Giovanna Le Noci, “Fabio Mauri”, in Osservare il pensiero riflesso, exhibition catalogue, Atelier Arco Amoroso and Mole Vanvitelliana, Ancona, edited by Gianluca Ranzi (Grottaferrata, Rome: ArteCom editore, 2007), p. 97 (ill.).
Bettina Ottone Bush Mignanego, “Osservare il pensiero riflesso”, in Arte contemporanea, Year II, no. 9, Rome, November–December 2007, pp. 17–18 (ill.).
Gianluca Ranzi, “Osservare il pensiero riflesso”, in Arte contemporanea, Year II, no. 8, Rome, September–October 2007, p. 41 (ill.).
Fabio Mauri. L’universo d’uso, exhibition catalogue, Auditorium Parco della Musica, Rome, edited by Francesca Alfano Miglietti (Milan: Skira, 2008), p. 68 (ill.).
Fabio Mauri, Scritti in mostra. L’avanguardia come zona 1958-2008, edited by Francesca Alfano Miglietti (Milan: il Saggiatore, 2008), pp. 26–29 (ill.).
Stefano Chiodi, “Attraversando lo specchio dell'ideologia. Intervista con Fabio Mauri”, in Flash Art, Year XLII, no. 277, Milan, August–September 2009, p. 49 (ill.).
Fabio Mauri, Io sono un ariano (Milan: Lampi di stampa, 2009), pp. 95–101 (ill.).
Elena Pirazzoli, A partire da ciò che resta. Forme memoriali dal 1945 alle macerie del Muro di Berlino (Reggio Emilia: Diabasis, 2010), pp. 128, 191, no. 5 (ill.).
Alfabeta 2, Year I, no. 2, Milan, September 2010, p. 5 (ill.).
Elena Pirazzoli, “Il trauma e la cura”, in Studi e ricerche di storia contemporanea, Year 39, no. 74, Bergamo, December 2010, pp. 67–68 (ill.).
Sulla parola. Isgrò, Salvo, Germanà e gli altri. Le parole nell’arte tra Sessanta e Settanta, exhibition catalogue, Fabbriche Chiaramonte, Agrigento, edited by Marco Meneguzzo (Cinisello Balsamo: Silvana Editoriale, 2011), pp. 92–95 (ill.).
Bartolomeo Pietromarchi, Italia in opera: La nostra identità attraverso le arti visive (Turin: Bollati Boringhieri, 2011), p. 157.
Arskey, no. 1, Asti, February–April 2011, p. 73 (ill.).
Elena Volpato, “Fabio Mauri: starting from the end”, in Mousse, no. 29, Milan, Summer 2011, p. 139 (ill.).
Barbara Casavecchia, “Body Politics”, in Frieze, no. 147, London, May 2012, p. 184 (ill.).
Laura Cherubini, “Jewess”, in Fabio Mauri. Ideology and Memory, edited by Studio Fabio Mauri (Turin: Bollati Boringhieri, 2012), pp. 49–50, (ill.).
Silvano Manganaro, “La storia tra furia e memoria”, in Il Giornale dell'Arte – Vernissage, Year XXX, no. 321, Turin, June 2012, p. 9 (ill.).
Federica Boràgina, Fabio Mauri. Che cosa è, se è, l’ideologia nell’arte (Catanzaro: Rubbettino editore, 2012), pp. 60–65, no. 10, p. 63 (ill.).
Fabio Mauri. The End, exhibition catalogue, Palazzo Reale, Milan, edited by Francesca Alfano Miglietti (Milan: Skira, 2012), pp. 42–43.
Vice versa: 55. Esposizione Internazionale d’Arte di Venezia, exhibition catalogue, La Biennale, Venice, edited by Bartolomeo Pietromarchi (Milan: Mousse Publishing, 2013), p. 135 (ill.).
Elisabetta Catalano, Work with Fabio Mauri, edited by Laura Cherubini (Milan: Maretti Editore, 2013), pp. 34–41, 112–113, 130–133 (ill.).
Marta Baiardi, Alberto Cavaglion, Dopo i testimoni: Memorie, storiografie e narrazioni della deportazione razziale (Rome: Viella, 2013), pp. 374–375.
Fabio Mauri, exhibition catalogue, Fundación PROA, Buenos Aires, edited by Giacinto Di Pietrantonio (Buenos Aires, 2014), pp. 44–45 (ill.).
Ennesima. Una mostra di sette mostre sull’arte italiana, exhibition catalogue, Palazzo della Triennale, Milan, edited by Vincenzo De Bellis (Milan: Mousse Publishing, 2015), Vol. “La performance dal tempo sospeso: il tableau vivant tra realtà e rappresentazione”, pp. 15–16 (ill.), 69–73.
Fabio Mauri. Archivio di memoria, edited by Dionigi Mattia Gagliardi (Rome: Numero cromatico editore, 2015), pp. 108–109 (ill.).
Arthur Lubow, “A life's work, fueled by youthful trauma”, in The New York Times International, New York, 17 April 2015, p. 9 (ill.).
Carolyn Christov-Bakargiev, “Nello schermo: insonnia per diverse forme contrarie di universo”, in Hauser & Wirth, Vol. 5, Zurich, March–May 2015, p. 52 (ill.) .
Fabio Mauri. I was not new, exhibition catalogue, Hauser & Wirth, East 69th Street, New York (New York: Hauser & Wirth Publishers, 2015), p. 6 (ill.).
Raja El Fani, “Godfathering political art”, in Damn, no. 50, Gent, May–June 2015, p. 99 (ill.).
Fabio Mauri. Arte per legittima difesa, exhibition catalogue, GAMeC, Bergamo, edited by Giacinto Di Pietrantonio (Bergamo: GAMeC Books, 2016), cover, p. 26 (ill.).
Valérie Da Costa, Fabio Mauri: le passé en actes (Dijon: Les presses du réel, 2018), nn. 59–63, pp. 112–117 (ill.).
Stefano Chiodi, “Fascismo in azione, meccanica ipnotica: Fabio Mauri”, in Alias, Rome, 11 November 2018, p. 11.
Sibilla Panerai, “Fabio Mauri e il male d'Europa”, in Titolo, Year IX (XXX), no. 18 (79), Rubbettino editore, Soveria Mannelli (Catanzaro), Summer 2019, p. 35 (ill.).
Heart Museum, Spring–Summer 2019, p. 47 (ill.).
Laura Cherubini, Contro corrente: I grandi solitari dell’arte italiana: Alighiero Boetti, Gino De Dominicis, Luciano Fabro, Fabio Mauri, Vettor Pisani, Marisa Merz (Milan: Christian Marinotti edizioni, 2020), pp. 111, 113.
Maurizio Cattelan, “A comversazione between Maurizio Cattelan and Fabio Mauri”, in Ursula, no. 6, Hauser & Wirth Publishers, Spring 2020, p. 96 (ill.).
Marcella Vanzo, “Il corpo si fa poesia. Fabio Mauri e le sue prime performance”, in Artedossier, no. 387, Florence, May 2021, pp. 38–39 (ill.), 42–43.
Maurizio Cattelan, Index, edited by Roberta Tenconi, Vincente Todolí, Fiammetta Griccioli (Venice: Marsilio, 2021), p. 468 (ill.).
Lorenzo Madaro, “Lungo viaggio nell'archivio di Fabio Mauri”, in Arte, no. 581, Milan, January 2022, p. 123 (ill.).
Mauri, edited by Flaminio Gualdoni (Milan: Corriere della Sera, 2022), pp. 38–39 (ill.).
Sara Codutti, “Fabio Mauri, Bologna 1938-1978: poesia, ideologia, azione”, in La performance a Bologna negli anni ’70, edited by Uliana Zanetti (Bologna: Settore Musei Civici Bologna / MAMbo – Museo d’Arte Moderna di Bologna, 2023), pp. 262–263 (ill.).
Roberto Andreotti, Federico De Melis, “Allegria e angoscia di un decostruttore”, in Alias, Rome, 31 August 2025, pp. 7–8.
