An installation created for the Galleria del Falconiere in Ancona, consisting of a FIAT Topolino Giardiniera Belvedere model, sectioned in half and divided by a brick wall built on site. On the opening day, a girl sat at the wheel of the car with the headlights on and the car radio tuned to a German channel. Muro d’Europa alludes specifically to the wall that runs through Berlin. For the author, the symptom and sign of the scar traversing Europe, sundering its thought and every practice in two.’1 A few months later, invited to exhibit in Amsterdam, the artist proposed a ‘twin’ work in which, recovered and rebuilt on site, the wall divided a boat in half (inv. 774).

1. F. Mauri, ‘Il muro dell’arte’, in Controcultura, Year IV, no. 10, Brescia, 1980, p. 5.