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Fabio Mauri

Italy (Roma 1926 -  2009 )
MAURI Fabio Senza Titolo

Boetto
Apr 16, 2013
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Artworks in Arcadja
83

Some works of Fabio Mauri

Extracted between 83 works in the catalog of Arcadja
Fabio Mauri - Quadro Quadro

Fabio Mauri - Quadro Quadro

Original 1990
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Lot number: 799
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Description:
Fabio Mauri * (Rome 1926–2009) Quadro quadro, 1990, signed, titled and dated on the reverse Fabio Mauri \“Quadro quadro\” 1990 Roma and the inscription of the artist: 1990 Due canne da pesca on the left margin, iron, oil painting, gypsum on wood, 70.5 x 101 x 9.5 cm Provenance: Collection A. Caruana, Rome Finarte, Rome, 13/11/2008 there acquired by the present owner Private Collection, Italy Exhibited: Rome, Fabio Mauri Opere e Azioni 1954–1994, Galleria Nazionale d\’\’\’\’\’\’\’\’Arte Moderna, 1994, cat. p. 244 ill. Klagenfurt, Fabio Mauri, Male e Bellezza - Das Böse und das Schöne, Kärntner Landesgalerie, Fabio Mauri, 1997, cat. p. 115 ill.
Fabio Mauri - Schermo Imbottito Medio (ii Generazione) "una Tasca Di Cinema"

Fabio Mauri - Schermo Imbottito Medio (ii Generazione) "una Tasca Di Cinema"

Original 1972
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Gross Price
Lot number: 22
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Fabio Mauri
SCHERMO IMBOTTITO MEDIO (II GENERAZIONE) "UNA TASCA DI CINEMA"
1926 - 2009
signed, titled and dated 1972 on the reverse enamel on shaped canvas 133 by 81 by 7 cm. 52 3/8 by 31 7/8 2 3/4 in.
Authentication
This work is accompanied by a certificate of authenticity issued by the Studio Fabio Mauri and the Associazione per l\’\’\’\’\’\’\’\’Arte l\’\’\’\’\’\’\’\’Esperimento del Mondo, Rome.
Nai Gallery, Naples Galleria Engema, Nocera Inferiore Sale: Christie\’\’\’\’\’\’\’\’s Milan, 24 May 2011, Lot 28 Galleria Bognoni, Reggio Emilia Acquired from the above by the present owner in 2012
Fabio Mauri - Lettere O Alfabeti

Fabio Mauri - Lettere O Alfabeti

Original 1972
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Gross Price
Lot number: 648
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Fabio Mauri *

(Rome 1926–2009)

\“Lettere o Alfabeti\”, 1972, variazioni 2004, signed on the reverse: Schermo in balsa \“Lettere o Alfabeti\” 1972 variazioni 2004 Fabio Mauri, TNT fabric, wood, varnish, iron, 71 x 43 x 5 cm, (MCC)

Photo certificate:

Studio Fabio Mauri, Rome, archive no. 125

Provenance:

Atelier of the artist, gift to the non-profit association Fondazione CittàItalia, Rome, acquired there during the benefit auction held in Rome on 28 September 2006 by the present owner

Private Collection, Italy

Exhibited:

Rome, L\’\’\’\’\’\’\’\’Arte di amare l\’\’\’\’\’\’\’\’arte, 30 Artisti a sostegno della Fondazione CittàItalia, Palazzo Corsini, September 2006

Fabio Mauri is one of the masters of Italy\’\’\’\’\’\’\’\’s avant-garde.

He was an eclectic artist with an interest in theatre, cinema and literature, who for twenty years taught Experimentation Aesthetics at the Academy of Arts in L\’\’\’\’\’\’\’\’Aquila, Italy.

He co-founded the literary magazine \“Il Setaccio\“ with Pasolini in 1942 and the cultural magazine \“Quindici\“ with Umberto Eco, Edoardo Sanguineti and Angelo Guglielmi in 1967. These were followed by the magazine of art criticism entitled \“La Città di Riga\“, which he co-founded with Alberto Boatto, Jannis Kounellis, Maurizio Calvesi and Umberto Silva in 1976. Mauri\’\’\’\’\’\’\’\’s first solo exhibition at Galleria Aureliana in Rome in 1955 was presented by his friend, Pier Paolo Pasolini.

At the close of 1957, the artist created his first \“Schermi\“ (\“Screens\“) as his own version of monochromatic works, pursuing a \“zeroing\“ of the sign that also characterised all of the most advanced artists at that time. Mauri\’\’\’\’\’\’\’\’s monochromatic works also already foreshadowed his discourse on film. The screen was the new, real \“symbolic form\“ of the world and Mauri understood this circumstance clearly and immediately.

The object clearly indicates television and cinema, the signs of our multimedia society. With his screens, Mauri goes beyond any ideological confession. Unlike the industry of images, his screens are empty and white (1957–1960), representing the space for any possible projection, in which the words \“The end\“ never vanish. The screen is regarded as a tangible form of memory and conscience, on which projections evoke interpretations of reality: each projection implies an individual plot, an incomplete awareness of reality, the adoption of new elements from the world. Memory precedes perception, hence when a person looks they actually project their memories onto reality, whilst also modifying their interior images through a comparison with reality. The representation of man-world/screen-projector generates an understanding of individual destiny and its interlocutors, or temporal contradictors, namely politics, culture and hazard (...). Mauri\’\’\’\’\’\’\’\’s approach represents the opposite of the invasive visual market of the new millennium, which also constitutes a very significant feature: an obsessive, thorough analysis that is verified by experience.

The step from painting to action is inevitable. The idea reaches beyond the boundaries of the canvas through the actions of a past that has yet to be digested and remains forever intolerable. This constitutes the basis of the performances from the 1970s, such as \“Che cos\’\’\’\’\’\’\’\’è il fascismo\“ (\“What is Fascism\“) (at Stabilimenti Safa Platino in Roma, 1971), \“Ebrea\“ (\“Jewess\“) and \“Gran Serata Futurista 1909–1939\“ (\“A Futurist Grand Soirée 1909–1939\“).

His cinema debut took place in Bologna in 1975. \“Intellettuale – Il Vangelo secondo Matteo di/su Pier Paolo Pasolini\“ (\“Intellectual ¬– The Gospel According to St. Matthew by/on Pier Paolo Pasolini\“), was performed for the first time on the occasion of the opening of the new Galleria Comunale d\’\’\’\’\’\’\’\’Arte Moderna. The action took place on the short external staircase leading to the gallery, whilst the exhibition, which was curated by Franco Solmi and focused on the Dada movement, was displayed inside the museum.

Mauri placed Pasolini on a raised chair in front of the door. The poet was transformed into a \“human screen\“. His film, \“The Gospel According to St. Matthew\“, was projected onto him. The volume of the soundtrack, which was disproportionally high compared to the small dimensions of the images, exacerbated the feeling of disorientation caused by the action both in the audience and Pasolini himself. Fifteen photographs by Antonio Masotti documented the action and became known all over the world.
Dora Aceto, Studio Fabio Mauri, Rome
Fabio Mauri - Senza Titolo

Fabio Mauri - Senza Titolo

Original 1983
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Lot number: 19
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FABIO MAURI (1926-2009) Senza titolo 1983 tecnica mista su carta cm 48x33 siglato e datato in basso a destra firmato e datato sul retro con scritta "disegno, mai esposto" Untitled 1983 mixed media on paper cm 48x33 signed and dated in the bottom right signed and dtaed on the reverse,with writing "never exposed drawing"
Fabio Mauri - Manipolazione Di Cultura Portfolio

Fabio Mauri - Manipolazione Di Cultura Portfolio

Original 1976
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Lot number: 28
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Description:
28

FABIO MAURI

Manipolazione di cultura portfolio
, 1976
The complete set of fifteen screenprints and title pages, on Fabriano paper, the full sheets, all I. 37 x 23 cm (14 5/8 x 9 in); all S. 70 x 50 cm (27 1/2 x 19 5/8 in) all signed and numbered 66/125 in pencil, published by La Nuova Foglio Editrice, Macerata, in generally good condition, lacking the portfolio.

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