An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Post-war Italian artist Fabio Mauri's practice encompasses performance, film, installation, found-object sculpture, mixed media works and theoretical writings to question readings of history and the associated power of language and ideology associated with the Second World War and the Holocaust. Sobering, direct, and poetically reflective, Mauri's art addresses themes of communication and manipulation, and brings light to the 'political dimension of the image,' as it is projected and proliferated throughout contemporary society.
Born in Rome in 1926, Mauri's youth was marked by the events of war and Fascism – traumas and horrors that would profoundly impact and influence his life and work. Raised among writers and painters, Mauri befriended intellectuals in Italy's new avant-garde, among them the novelist Italo Calvino, philosopher and semiotician Umberto Eco, film director and aficionado Pier Paolo Pasolini, visual artist Jannis Kounellis, art historian Maurizio Calvesi and the writer Edoardo Sanguineti. 'I patiently recompose,' the artist commented, 'with my own hands, the experience of the shameful. I explore its mental possibilities... I behave as if that reality (that history) had not had its final condemnation, but were still adding further data right up to our time today'.
The screen as a symbol emerges as early as 1957 and remains essential to the articulation of his work. Whether cinema, television or computer it allows for an exploration of meaning, images and codes. Through this Mauri proposes to his audience an examination, a critique and an experience of the 'real.'
Mauri worked for the family company, the publishing house Bompiani, from 1957 to 1975 as director of the Miland and Rome headquarters. Along with Umberto Eco and Edoardo Sanguineti, he founded the magazine Quindici (1967) and the magazine for arts criticism, La citta di Riga in 1976. Such as his oeuvre, Mauri is undefinable practicing as artist, playwright, publisher, critic and teacher throughout his career. He never belonged to any specific artistic movement but kept a close proximity to various artists and discourses. Mauri has exhibited his work internationally in prominent institutions.
Olivier Renaud-Clément and Danka Schröder discuss the exhibition Fabio Mauri. With Out at Hauser & Wirth New York, 22nd Street.
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