Fabio Mauri was born in Rome in 1926 and was one of the Italian avant-garde masters after the Second World War, an eclectic artist who was interested in theatre, cinema and literature. In 1942 he founded the magazine Il Setaccio with his friend Pierpaolo Pasolini. In 1955, Pasolini himself presented the first personal work of the artist at the Galleria Aureliana in Rome. Like many other artists of the period, Fabio Mauri also experimented with resetting and in 1957 produced the first monochromes (“Schermi”) which had a great cinematic influence. In 1967, together with Umberto Eco, Edoardo Sanguineti and Angelo Guglielmi and others, founded the magazine Quindici. From his reflexions on the Second World War the performances of the 1970s were born (Che cosa è il fascismo,Ebrea, Gran Serata Futurista 1909-1939). Ebrea was presented for the first time at the Galleria Arozzi in Venice in 1971. Che cosa è il fascismo was created in Rome to then become itinerant and to be staged in Venice in 1997. In 1976 he founded the art magazine La città di Riga together with Alberto Boatto, Maurizio Calvesi, Jannis Kounellis e Umberto Silva. In the 1990s Fabio Mauri shifted his focus on footprint, overhead data and information (Interno/Esterno, 1990, Studenti, 1992). The key issues, which were also based on the titles of the works, are: video, prototypes, projections, identity of expressive structures, the relationship between thought and the world and thought in the world. The works of the artist therefore became an autobiographical research, a fragment of a relationship that enters a relationship with existence and therefore the idea of ethical art. In 2009 he was nominatedGrande Ufficiale dell’Ordine al merito della Repubblica Italiana by Giorgio Napolitano, the President of the Republic at the time. He participated in various editions of the Biennale di Venezia and in 2012 in Documenta13 in Kassel where he had his own exposition room. In the same year he was dedicated a personal retrospective in Palazzo Reale in Milan. In 2014, he was dedicated a work in Buenos Aires in the Fundacion Proa and in 2015, a work in New York at Hauser&Wirth and an entire room at the Biennale in Venice.