Artist
Born in Rome, Italy
Fabio Mauri: Architect of the Screen, Chronicler of Ideology
Fabio Mauri (1926-2009) remains a profoundly enigmatic and influential figure in post-war Italian art. Born into a family steeped in theatre and publishing—his uncle Valentino Bompiani’s house was a hub for literary innovation—Mauri’s artistic journey was inextricably linked to the tumultuous events of his youth, particularly the trauma of World War II and its lingering ideological scars. His work isn't easily categorized; it resists simple labels, oscillating between performance, installation, drawing, and theoretical reflection, always probing the complex relationship between individual consciousness and the pervasive forces of mass media and propaganda.
Early years in Bologna laid the groundwork for his artistic sensibility. He began publishing drawings in 1942 alongside Pier Paolo Pasolini, a collaboration that would profoundly shape both their intellectual trajectories. The experience of war, however, left an indelible mark, triggering episodes of severe mental distress and hospitalization. This personal crisis, far from being a creative dead end, became the catalyst for a radical shift in his artistic approach—a deliberate confrontation with the psychological impact of violence and ideology. His early struggles with psychosis fueled a lifelong investigation into the nature of trauma, memory, and the ways in which history is constructed and perpetuated through images.
The ‘Schermi’ – A New Language of Perception
Mauri's artistic breakthrough arrived in 1957 with the creation of his “Schermi” (Screens). These deceptively simple works—black frames surrounding white sheets of paper—represented a fundamental departure from traditional painting. He described them as seeking a ‘zero degree’ – a space beyond representation, a blank canvas for projection and contemplation. The Schermi weren't merely paintings; they were invitations to engage with the potential of the image itself, acting as conduits for unseen narratives and future possibilities. This concept evolved over time, incorporating elements like stretched cloth or wooden frames reminiscent of television screens, further emphasizing the role of media and technology in shaping our perception.
The Schermi weren’t static objects; they were designed to be activated—projected upon, layered with text, or used as a backdrop for performance. Mauri's meticulous attention to detail – the precise framing, the stark contrast between black and white – created a powerful visual language that challenged viewers to question their assumptions about representation and reality. The Schermi became a central element in his exploration of ideology, serving as a platform for confronting uncomfortable truths about power, violence, and manipulation.
Performance, Ideology, and the ‘Crack’ Group
Beyond the Schermi, Mauri's artistic practice expanded dramatically throughout the 1960s. He became deeply involved in theatre, co-founding the “Quindici” magazine with poets like Pier Paolo Pasolini and Edoardo Sanguineti, and staging politically charged performances such as L’Isola (1964), a pop-art theatrical piece that combined literature, comic books, and visual imagery. He also formed the ‘Crack’ group in 1960 with artists like Pietro Cascella, Gino Marotta, and Achille Perilli—a collective dedicated to exploring the intersection of art, politics, and social critique.
Crucially, Mauri distanced himself from the burgeoning Pop Art movement in 1964, recognizing its superficial embrace of consumer culture. He shifted his focus towards a more rigorous investigation of ideology, producing works like Che cosa è il fascismo (What is Fascism) and Ebrea, which confronted the horrors of Nazi-fascist ideology with unflinching honesty. These performances weren’t merely aesthetic events; they were acts of remembrance, attempts to bear witness to historical trauma and expose its lingering effects on contemporary society.
Legacy and Enduring Relevance
Fabio Mauri's work continues to resonate powerfully in the 21st century. His exploration of mass media, propaganda, and the manipulation of images remains profoundly relevant in an age dominated by social media and digital technologies. His insistence on confronting uncomfortable truths—particularly those related to violence, trauma, and ideology—demands a critical engagement with history and its ongoing influence on our present. Mauri’s legacy lies not only in his innovative artistic practices but also in his unwavering commitment to using art as a tool for social critique and personal reflection. He left behind a body of work that challenges us to question the very nature of representation, perception, and the power dynamics that shape our world.
Museum
On show in Venice, Italy
Origins and History of La Biennale di Venezia
The origins of la Biennale di Venezia trace back to a resolution passed by the Venice City Council on 19 April 1893. This legislative action was the result of a proposal by a group of Venetian intellectuals, led by the mayor at the time, Riccardo Selvatico. The objective was to establish a national art biennial exhibition to stimulate artistic activity and the art market within the city and the unified Italian state. Following this initiative, the first Art Exhibition was launched in 1895, and the institution was formally founded as a cultural society.
Over the following decades, the organization expanded its scope beyond the initial visual arts focus. The institution's structure evolved through the establishment of various specialized sectors, including cinema in 1932, music in 1930, and theatre in 1934. The architecture sector was later added in 1980, and the dance sector was established in 1999. This multidisciplinary growth reflects the changing landscape of contemporary creative practice.
A significant institutional shift occurred in January 2004. Through a legislative reform decree, la Biennale di Venezia was transformed into a Foundation. This change altered its administrative framework while maintaining its commitment to organizing international events and promoting new artistic trends. The institution continues to operate through its various departments, maintaining its presence in Venice through the Giardini di Castello and the Arsenale.
The Diverse Departments of the Biennale
The multidisciplinary structure of the Biennale reflects a long-standing commitment to various forms of creative expression. While the foundation began with the art sector, the institution expanded its scope through the twentieth century. The music sector was established in 1930, followed by the cinema sector in 1932. The theatre sector followed in 1934. These departments allow for a continuous dialogue between different artistic mediums within the Venetian context.
Later developments brought specialized focus to the built environment and movement. The architecture sector was established in 1980. The dance sector was added more recently, in 1999. This evolution ensures that the institution remains a site for contemporary practice across many disciplines. The organization operates through a foundation model, having been transformed by a legislative reform decree in January 2004.
The Major Venues and Their Locations
The exhibition spaces of La Biennale di Venezia are distributed across several distinct sites in Venice and on the Lido. The Giardini di Castello function as a primary location for visual arts and architecture. Within this parkland, thirty national pavilions are situated, including the British Pavilion, a 19th-century neo-classical building that has hosted artists since 1909. The Giardini provide a structured environment for these international displays.
The Arsenale occupies a significant portion of the exhibition landscape. Originally a bustling naval shipyard, this industrial site now hosts visual arts and architecture. The scale of the Arsenale allows for large-scale installations within its historical structures. Nearby, the Teatro alle Tese and Teatro Piccolo Arsenale provide the necessary settings for dance, music, and theatre. These venues accommodate the movement and sound required by the performing arts sectors.
Cinema exhibitions are centered on the Lido. The Palazzo del Cinema and the Palazzo del Casinò serve as the primary venues for these cinematic presentations. The distribution of these sites ensures that the different disciplines of the Biennale are held in environments suited to their specific requirements, from the open spaces of the Giardini to the specialized halls of the Lido.
The British Pavilion and its Legacy
Located within the Giardini, the British Pavilion is a 19th century neo-classical listed building. Originally a café-restaurant, the structure was converted into an exhibition space by E. A. Rickards in 1909. The British Council assumed responsibility for the building in 1937, establishing a long-term presence within the Biennale's grounds.
Since its conversion, more than 600 UK artists have exhibited within the Pavilion. The selection process has evolved over the decades to reflect changing artistic practices. Since the 1970s, the Pavilion has maintained a specific focus, dedicating its space to a single artist or a specific artist practice each year.
The history of the Pavilion is marked by the presence of significant figures in British art. Notable participants include:
Henry Moore
Barbara Hepworth
Francis Bacon
Lucian Freud
Anish Kapoor
Tracey Emin
Exhibitions and Artistic Research
The Biennale operates on a biennial cycle, alternating between art and architecture each year. Public access is maintained for six months annually, from May until November. This schedule ensures a continuous presence in the Venetian cultural landscape, providing a structured rhythm for international participation. The institution maintains its historical continuity through the ASAC, the Historic Archives of Contemporary Arts, which conserves the essential documentation of the Biennale's history.
Research and professional development are integrated into the institutional framework. In 2014, the Venice Fellowships programme was launched to support artists and architects. This initiative provides a dedicated space for research, allowing participants to engage with the city and its specific artistic contexts. The programming often addresses complex global themes, including climate change and migration rights, through curated conversations and large-scale installations.
Nyau Cinema, 2015
The Anti-Clock Project, 2015
Let Us Now Praise Famous Men, 1936
Recent and Upcoming Biennale Events
The calendar for the 2023 season encompasses a wide range of disciplines across Venice and the Lido. The Biennale Danza takes place in Venice from 13.07 to 29.07. This is followed by the Biennale Teatro, held in Venice between 15.06 and 1.07. The Biennale Cinema moves to the Lido di Venezia, running from 30.08 to 9.09. Later in the year, the Biennale Musica returns to Venice from 16.10 to 29.10, while the Biennale Architettura spans a longer duration from 20.05 to 26.11.
Looking toward the following year, the Biennale Arte 2024 is scheduled to take place in Venice from 20.04 to 24.11. These scheduled events maintain the institution's multidisciplinary structure, alternating between art and architecture while providing dedicated periods for film, dance, music, and theatre. The programming ensures that the various sectors of the foundation remain active throughout the year.
