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BIOGRAPHY Mauro Maugliani is born in 1967 in Tivoli, Italy. He graduated in 1991 from the Academy of Fine Arts in Rome, where he began his artistic career, before settling recently in Nice in south of France, where he now lives. He began his artistic career in the field of figurative painting, with a strong conceptual propensity devoid of any formal descriptive style. The soul is at the center of his expression search. A research that makes his painting an expressive way that shapes surfaces and interacts with space. It is the multiplicity and complexity of human relationships that inspire his artistic language. His work uses the art of portraiture and anatomy to represent the metabolization of human relationships, the inability to communicate, the isolation and alienation of man. His anti-portraits focuse the loss of the individual in his daily existence; the skin becomes a diary that speaks and tells us a lot about its anti-heroes. Humanity and its cynical individualism evolve at the heart of the matrix of social changes, and tattooed barcodes (often present in its works) are the indelible signs of mental approval. The lost man loses all expressiveness, content, values ... the consumer society is the new Golem and decides the meaning of things. Since 2000, the artist is active on the contemporary art scene, among personal exhibition projects. We report in 2011 the exhibition "Face off" at the Romberg Gallery of Latina, while in 2009 the Gallery Spazio Officina hosted the exhibition "Reale per Eccelenza" Among the collective projects highlighted, his participation in the project "Atollo" at the Museum Palazzo Collicola Arti Visive Spoleto, organized by GL Marziani, "Trialogo" promoted by the Gallery Opera Rome, organized by E. Sassi, and "Look at me "organized by A.Soldini at the Pinacoteca de Gaeta. In 2014, the Michetti Foundation, on the occasion of the LXV Prize, acquired for the homonymous museum, the work of the artist entitled Eclissi. In 2015, we recorded his participation in the collective project "Close up" organized by GL Marziani at the Palazzo Collicola Arti Visive Museum. In April of the same year he presents the solo exhibition "Versus" at the Suppan Contemporary Gallery in Vienna; in June, the personal exhibition "Ego te Absolvo" organized by Alessia Carlino at the Pinacoteca de Gaeta and in August, it presents a solo exhibition at the Gallery Bath Baths of Antibes entitled "Ordinary People". In 2016 and 2017 the project Etoiles Filantes marks a turning point in his career, he present this solo exhibition in Nice, Musee Massena and in Roma, Mattatoio Ex Macro (Rome Museum of Contemporary Art) Alessia Carlino says of him: "The artist goes through his professional career thanks to a precise technical ability and a stylistic personality that make his works masterpieces of unparalleled beauty. Maugliani's painting is an unmistakable mark of meticulous perfection and precise search for details. In recent years, the artist has been experimenting with different mediums that carry the pictorial film, and making his works multifarious and heterogeneous in the search for an experience never unequivocal.


Etoiles Filantes Project

Every human action, whether collective or personal, inexorably affects the social fabric to which it belongs. Political, economic and scientific choices determine the fate of humanity, to the point of causing conflicts and tracing fate. Are the major sociological themes still debated in order to understand their meaning, or are they dissipated in the "likes" of social networks? Primo Levi said, "If understanding is impossible, understanding is necessary". It is by looking at our society, the bombs that continue to fall on innocent children, the disconnection between reality and virtual, between what is and what will be, it is in front of all these questions that is born my new project. "Etoiles Filantes" (Shooting stars) is not only a project on memory, because as the French historian Georges Bensoussan said, "the Holocaust is a huge political and anthropological question", it is therefore a warning and a dream, that of restoring, for a moment, to children persecuted by human wickedness, this childhood lost forever and with it life. Therefore, " Etoiles Filantes " is a prayer for all child victims of the Shoah, their memories, their stolen smiles, lost caresses, without wanting to create a banal pathos that generates a saturation of memory. The exhibition is organized around small and large portraits, made on carbonized wood whose surface is scraped, sanded. A work of subtraction, because subtracted themselves to life, and the wood that resurfaces redraws the lost looks that interpellates us. In ambient sound, an audio that brings back to interrupted games, in an atmosphere of reflection, with a soft lighting that reveals the faces, emerging from the darkness. A total of 53 works have been made, in the technique described above and in different formats. This subject is today more than ever; relevant, because social discrimination is still rampant, and children continue to be the helpless victims of human disasters. This is why the rest of the exhibition will open a series of debates with politicians and institutions, young high school students and survivors, so as not to forget. The exhibition started in 2017 in Nice, with the participation of the Jewish community of the city, which provided a large part of the photographic documentation material, and the City of Nice which has made available a prestigious exhibition space : The Villa MassĂŠna, organized the setting up of the event, as well as the cultural programming of the debates with schools and institute. In 2018, on the occasion of the Memory Day, the exhibition became itinerant and is currently on display and until March 18 in Rome at the Mattatoio Museum.


Installation , cm 200 x 120, Gravure sur bois, 2018

Installation de Etoiles Filantes au MusĂŠe Mattatoio (ex Macro) Rome.


Claude EIZLINI 100cm x 100 cm

Les enfant de la Rue Amelot, Paris 120 cm x 100 cm et 120 cm x 100 cm, Gravure sur bois, 2016


Famille Bondi’ Rome, 220 cm x 240 cm, Gravure sur bois, 2018 ,


Installation de Etoiles Filantes au MusĂŠe Mattatoio (ex Macro) Rome.


ORDINARY PEOPLE PROJECT Curated by Giorgia Calo Mauro Maugliani's portraits are neither Pop, nor even praise, much less the celebration of culture and mass society, they don’t represent proud faces of their 15 minutes of glory, which we have been accustomed to seeing in Andy Warhol’s portraits, interested in turning the character into an icon. Maugliani's portraits are populist, they speak of a society, the contemporary one, crushed by the time which advances of preponderant way and which manages to cannibalize anything: emotions, values, and ethics. A society of spectacle prophesized by Guy Debord in the sixties, where the French situationist anticipated the imminent transformation of the person because of the economic, social and political system aided by modern capitalism. The characters staged by Maugliani express their experiences, tell their personal story through their looks and expressions. Indeed, the skill of the artist lies in his ability to talk about people on the street, a priori anonymous, but which constitute the fabric of our society. They are ordinary people, without any social or cultural reference, lost in a perpetual sense of precariousness. It could be prostitutes, models, tramps, employees ... no visual indication of their origin. And yet all these portraits reveal a common sense of melancholy, a feeling of loneliness. At a time when individualism is at the center of society, the void created around humans becomes the absolute evil of modern life. Maugliani's work can be summed up in his own words: "My work describes through portraiture and anatomy, sudden alienation, the loss of the individual in everyday life, emptied of his social function." The people painted and portrayed by Maugliani are therefore ordinary people, common, that we are used to cross every day on the street, the tram or the subway. It's about who we usually do not pay attention to, or even a glance, because they are themselves alienated by the muted music transmitted by the headphones of their Iphone or by reading their favorite daily, pretending to worry about what is happening around them, too busy in their daily rituals, made of mechanical gestures made with sufficiency. Then suddenly, we realize that these people are in fact us: the "I is Somebody Else", Somebody else is none other than me. In this loss of individuality, all the theme of loneliness is concentrate. It is not a coincidence if some of his portraits are literally immersed in the blue, a kind of amniotic fluid, coded as an intense blue, whether through oil painting (the pictorial technique par excellence) or Bic pen (unconventional technique recently adopted by many artists), the result is extraordinary! The layers that make up the image simulate the epidermis of the skin, highlighting all the imperfections of these faces any, insisting carefully on wrinkles, folds, eyebrows and lips, by transfiguring them like information elements on the complexity of the human personality. The deepening of certain aspects of the face leads to the emergence, in addition to appearance, of these imperceptible layers made of moods, tensions and suspensions which differ according to the subject depicted. The intention is to represent the human being for what he is and not for what he seeks to show, diminished by any embellishment or clue that could influence us in the perception of what we see. Maugliani's compositional skill goes hand-in-hand with a surprisingly expressive maturity, inspired by everyday life that is nothing but the essence of art


BLUE HOLOGRAM 1 bic on canvas cm 54 X 70 , 2015


DOLL OF SOUND oil on linen cm 200 X 200 , 2013


BLUE EMPTI 2 oil and acrilic on linen cm 80 X 100


LOSE COLOR 2 oil and TABLE cm 20 X 20 , 2015

WITHOUT SOUND 1 acrilic on musictape cm 100 X 80 , 2014


EGO TE ABSOLVO PROJECT Curated by Gianluca Marziani

The exhibition by Mauro Maugliani starts from the theater of war, from the conflictual point of view, from a controversial picture on which we have spoken and written in profusion in recent months. We refer to the canvas - IN GOD WE TRUST - which depicts a woman in a clergyman, vandalized by five strangers in the Roman gallery that was exposing her (Galleria L'Opera, exhibition "Trialogo"). Today that picture becomes the heart muscle of Spoleto personal: a female face "stitched" by a red sign that wanted to hurt the iconoclastic symbology and instead emphasized its energetic strength, iconographic detonation, the power to create disturbance through diversity. We present the canvas without any restoration, showing the biological process, the exogenous life after the elaborative life, the release of its flows in socio-cultural terms.

Gianluca Marziani: "I would underline the fearless strength that painting still supports. The metaphysical firmness of the painted image has not finished its biological cycle, on the contrary it highlights a kind of congenital and paradigmatic absoluteness. Painting as the engine of the sublime, of the fantastic allegorical, of the profound metaphor ... the work of Maugliani starts from realism to reach the heart of the epochal metaphor. A shakesperian mask that does not slip into provocation; the face as pure action before doubt, a crossing of the obvious in favor of the plausible. "

IN GOD WE TRUST has taken on the value of witnessing the historical flow, an ideal urban wall that has recorded the news through the neatness of that sign. In particular, it strikes the real fear that the painting has evoked: look at the red sign and you will understand that a certain order guided the vandal's hand, as if to follow the profile of the face, not to leave the perimeter of the female gaze, profaning the message but not the "sacredness" of the artistic value, of the emotional intensity, of the perspective realism of a first interrogative plane. Being looked at in that way by an image implies a challenge, whether you want it or not you are involved in the feelings behind realism: and as long as it will, it will mean life for art and its prophecy, its questions, its clairvoyance.

EGO TE ABSOLVO is the title of the exhibition, decided long before the vandalism. It was difficult to find a better phrase to celebrate the sacredness of painting and its generous disposition in front of the public: zero protection, body that undresses in full consciousness, without hiding and anesthetics. The nude portraits reiterate the essence of painting as archaic and current code. No filter in front of what the carnal cycle shows, the consumption and the attitude, the truth of pure skin. It is life with its crudity, its trembling, its ecstasy.


IN GOD WE TRUST oil on linen cm 200 x 200 2013


Ego te absolvo intsallation, Palazzo Collicola, Spoleto

Ego te absolvo intsallation, Palazzo Collicola, Spoleto


Ego te absolvo intsallation, Palazzo Collicola, Spoleto


TRIALOGO PROJECT Curated by Edouard Sassi Following, I believe, several councils in the days to come. The first and most enthusiastic, I remember, was Mauro Maugliani: «I hate painting», he told me at a certain point, peremptory. Then he explained: "For me to start painting is the final and less interesting part of my work. My work begins much earlier, and it is all or almost in the thought of the work, in the emotions that precede, in the project, in the encounter with the subject that lights up my imagination, my imagination ". I was sure that somehow he was telling the truth despite the even amazing, muscular skill of his being a painter could make those declarations paradoxical, even absurd. Painting for him came later, at the end of a journey, a means even detestable. I also knew the fascination, the aesthetic attraction of Mauro for eccentric subjects, physically borderline, beings beyond a "limit", beyond or on this side, beings on the ridge of classical aesthetic canons. And I appreciated his ability to trace the beauty where the manuals would always banish it (in his studio one morning I had the opportunity to admire a recent series of his paintings on the theme of old age, full nude of women and men of old age , with the physical signs of time well evident and not lyrically transfigured). I was therefore quite sure that Mauro would accept when I proposed to him, for his three works, a rather unusual theme / subject not to say crazy, at least for the contemporary aesthetics (from Philippe de Champaigne to Velázquez, many in fact the authors of the past to having dealt with it): «I believe - I told him - that you should take care of nuns, I see a theme suited to your nature as an artist, the nuns are mysterious beings, almost nobody talks about them, nobody investigates their lives, they are a little bit suspended between a real, concrete life and a vow to god and prayer. Yet the nuns love, suffer, live, die ... ». They wanted to be just suggestions thrown in there, but great was the surprise when I learned that, even before proposing that theme, the sensitive antennas of Mauro man (rather: child) and Mauro artist had already, for a long time, intercepted the topic . Mauro told me in fact that as a child, seven eight years old, he was fascinated by certain nuns' tombs, buried all together in a cemetery where he often went with his grandmother, who held him by the hand. He spoke to me of the fascination that the black and white faces of those veiled beings, portrayed on the headstones in old semi-faded photographs, were exerting on him. He also told me that he remembered exactly that place, where he was, and at that point I knew that somehow his work for the exhibition, or at least one of his works, would start from there, from that cemetery-epiphany, from those feelings lost in a distant time all his own. I knew that Mauro would have mixed in his childhood memories the theme "Sisters" and the sub-theme, equally congenial as well as classic, of the Imago Mortis, in an artistic reworking that would later reveal pop and consciously kitsch (the sacred and the saint, as for apparatuses, often are). This is how the extrapainting works of great intensity were born, created by Maugliani with heterogeneous materials and means: a hand masterfully carved in plaster, for example, part of the under glass work entitled Sweet Sweet Crux, a work conceived as an ideal extension of the big picture In God We Trust, two meters by two meters oil that dominates the setting. Here the painter portrays in his own way, or masterfully, a female face with long hair, without veil, in a strictly male cassock: is she a woman but would like to be a man? Is she a nun but in a priest's dress? Is she a nun-nun of some future - who knows where who knows when - in the exercise of a ritual function that today is denied her? Again the recurring theme in the art of Maugliani of the double, of the ambiguous identity that hides beyond its hyper-realism, which precisely because hyper is also, often, surrealism, of the type that gives shape to some formless. The plaster hand is to be considered as an expressive whole with the enormous canvas. A hand severed, meticulously sculpted to the most millimeter of the veins, a hand without a patina of protection, which therefore soon, by the precise will of the author, will suffer as a "living" art work organic microtransformations generating molds.


Must be observe the details of the different works of Maugliani: the gold damask, the cross and the rosary interwoven with the fingers in chalk, real micro-sculptures in sugar paste (sweet indeed, sweets for existences that perhaps were not), the ultraviolet of the photodigital on Plexiglas (plastic processing of faces of anonymous nuns drawn from collective burials) or the white-lacquered wood with which the artist has repainted an old kneeler that has become an integral part of his video installation The Sixth Hour, a kind of confessional claustrophobic wrapped in brocade cardinalice, in which the visitor is obliged to kneel if he wants to follow the video projected in loop on a wall-mounted Ipad. Certainly wanted the contrast between the scarlet monogram "I love JC" (Jesus Christ) imprinted on the kneeling, which refers to the merchandising of the monogram I love NY, and the content of the video The Sixt Hour, a title borrowed from the gentle song, a Rosary of the Sixth Hour, which is listened to in headphones, a cappella singing of a nun that Maugliani, to say of the correspondence of his sensitivity to the theme that I had proposed, had recorded months before the exhibition and its contents were even hypothesized. A song that in the sound of a deliberately shaky video, deliberately blurred, deliberately in black and white, deliberately played on a light / dark dialectic, alternates or overlaps with repeated Buddhist mantras (syncretism therefore: still something double, complex, aesthetically ambiguous).


IN GOD WE TRUST oil on linen cm 200 x 200 2013


WALL OF FAME digital photo print lambda cm 80 x 100 2013


THE SIXTH HOUR Video Installation 2013


Mauro Maugliani  

About MauroMaugliani Contemporary artist www.mauglianiart.com

Mauro Maugliani  

About MauroMaugliani Contemporary artist www.mauglianiart.com

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