On the occasion of the donation to the Castello di Rivoli Museum of Contemporary Art of the large installation I numeri malefici, 1978, created by Fabio Mauri (Rome, 1926 – 2009) for the XXXVIII Venice Biennale, the Museum presents the Fabio Mauri exhibition. Experiments in the verification of Evil.

Artist and intellectual, Fabio Mauri was born in Rome in 1926 and began publishing his first drawings and articles when he was only sixteen years old in the magazine "Il Setaccio" which he had founded together with Pier Paolo Pasolini in Bologna in 1942. Soon the second conflict world violently hits Mauri's life: a trauma that subsequently leads him to create art forms that span performance, installation, drawing, writing, all referring to painting as a symbol of art in general.

From the beginning, artistic practice has been a field of experimentation for Mauri in which to test different thoughts and theories: in his comic collages, on screens, in projections and performances, using graphite, pigments, papers, objects, films, bodies and sounds. , the artist has constantly tried to understand the encrypted nature of the world by restoring it in precipitates of meaning in the form of works of art.

Through over one hundred works on paper and an unpublished collection of diaries and books from the artist's archive, this exhibition aims to highlight some salient features of his great "Experiment of the world".

Raised in an Italy marked by the Second World War, Mauri, who lived in intellectual environments in dialogue with authors including Umberto Eco, Italo Calvino and Pier Paolo Pasolini, has an intuition: the screen has become the main "symbolic form" of the world, the sign of the new media civilization. In 1957-58, with the Schermi series, he began to analyze the way in which cinema and television became part of everyday life, modifying the experience of memory and the idea of fiction. Through the investigation of the Screen, Mauri explores the theme of Evil which seems to contradict every logic of an ordered cosmos of the universe.

In addition to presenting some historical images of the artist including Ebrea, 1971, Vomiting on Greece, 1972, Language is War, 1975, and more recent works such as Convince me of the death of others I only understand mine, 2005, the exhibition focuses on a wide selection of notebooks and works on paper.