Maurizio Mercuri Is colder and more cynical than the first two, he shares their attitude of the young rebel whose imaginative vivacity tends to regain a Dada vision, including with "readymades ". in fact, Mercuri works with common objects made and exhibited in absurd and disorienting situations, such as the fountain that spouts beer the selfportrait that gives the observer a tan, the chewing-gum photographed as if it were an informai sculpture, etc. always with re ference to analogous behavioral situations. He has a curious way of recycling objects that Is not very and for this very reason, extremeiy refìned, carried out, that Is, with an intelligent and willful careIessness, almost with an esprit de finesse. Eccentric and a bit of a snob in the end, Maurizio Mercuri illuminates a world of poor and discarded items with a touch of irony. acting on them with an intentionally rudimentary, slightly retrò technology, such as the red LED's in "Mozziconi (1994) or the walkman in "Falò sulla spiaggia (1997) and "Canzoni per l'estate (1997). In Sermoneta, the artist exhibits three quirky character-objects that seem to embody one of the many ltalian families with only one child, busy here swearing at each other non stop over loudspeakers, with no possibility of understanding or really communicating with each other. This time, and it is not by chance, Mercuri has added a minimal degree of credible workmanship to the three forms in fact, they fluctuate curiousiy between suggestively anthropomorphic shapes and mere pieces of furniture, in a dehumanized and slightly idiotic vision of a hypothetical domestic scene.