©   Mauro Maugliani. all rights reserved

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.