Fabio Mauri’s ‘With Out’ at Hauser & Wirth, New York | BLOUIN ARTINFO
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Fabio Mauri’s ‘With Out’ at Hauser & Wirth, New York

Fabio Mauri’s ‘With Out’ at Hauser & Wirth, New York
"Ventilatore (Senza Arte) / Fan (Without Art)," 1990, by Fabio Mauri (1926, Italy). Iron, plaster, fan, 71 x 101 x 25 cm, © Estate Fabio Mauri, Hauser & Wirth New York
(Courtesy: Estate and Hauser & Wirth Photo: Claudio Martinez)

Hauser & Wirth, New York, is dedicating a solo exhibition of works by the late Italian artist Fabio Mauri, organized with Olivier Renaud-Clément.

As part of the exhibition, Hauser & Wirth has restaged a selection of Mauri’s historical performances, including “Europa bombardata” (Europe Bombarded) (1978); “L’Espressionista” (Expressionist) (1982); and “Ebrea” (Jewess) (1971).

The fundamental themes of discrimination and violence further coalesce in Mauri’s installation “Entartete Kunst” (1985). Translating ‘art of a separate kind’ or ‘degenerate art,’ it quotes the derogatory title of the 1937 Nazi exhibition of modernist artifacts that were seized, segregated, and displayed as a demonstration of what ought be repressed in name of Aryan purity. Traditional aesthetics also run through the series “Senza Arte” (Without Art) (1990) in which Mauri explodes the conventions of still-life painting. A metallic stretcher, orphan on a canvas has its contents scattered beside it, while a monochrome screen supplies a shelf for a fan, revealing a vinyl record hidden within. Fraught with irreducible material culture, these works recuperate popular memories lost. 

In a career spanning five decades, Mauri conducted an unyielding critical exploration of the mechanics of ideology, specifically as they materialized in the visual languages associated with World War II, the rise of Fascism and the Holocaust, and their lingering echoes in the modern world. His command of a diversity of disciplines and mediums – from drawing, painting, sculpture, performance, film, and installation, to theater and theoretical writings – produced an oeuvre that effectively connects the enduring traumas of the 2oth century to today. Sobering, direct, and poetic, Mauri’s work recovers individual and collective historical memory; it addresses themes of mass communication and manipulation, and brings to light the political dimension of images that proliferate throughout contemporary society by means of our most prized tools.

The exhibition is on view through April 7, 2018, at Hauser & Wirth, 548 West 22nd Street, New York 10011- USA.

For details about the exhibition, visit: https://www.hauserwirth.com/