A little more than a month after poet, intellectual and director Pier Paolo Pasolini’s death, Mauri opened a solo exhibition ‘Senza ideologia’, at the Teatro in Trastevere in Rome, presenting a group of new works with projections onto bodies and objects. These included the work Intellettuale. Il Vangelo secondo Matteo di/su Pier Paolo Pasolini (inv. 985), performed for the first time without the director, and turned into a memorial to his friend murdered just a few weeks earlier.This time, the two halves of the film were screened separately: the first on a white shirt draped over a chair left empty by the poet’s violent death; the second, on the face of singer Maria Carta, ‘obscured’ by sunglasses, whose voice in the next room modulated a heart-breaking lament. ‘The darkening is greater and the feared aggression made so intense that it covers over the very features of pain.’1

1. F. Mauri, unpublished text, 1975, Fabio Mauri Archive,
Rome.