Abstract: In 1933, Mario Sironi, a leading artist active during the Fascist regime, decided that easel painting should have been replaced by muralism. In this article, firstly, we analyse two murals the regime commissioned from two leading futurist artists to be placed at the EUR to illustrate the corporativist project: Enrico Prampolini’s Le Corporazioni (1941) and Fortunato Depero’s Le professioni e le arti (1942). Secondly, we look at some contemporary expressions of street art and new muralism with anti-fascist tones to group them according to their iconography, those by Jorit and Cibo; and their urban impact in settings with a long-standing anti-fascist history such as those in the Garbatella and Quadraro neighbourhoods in Rome, and the Ortica in Milan. Therefore, the main question we ask is: how do contemporary street art and new muralism articulate representations of Fascism in order to problematise the relationship between individual and collective within the public sphere?
Key Words: street art, muralism, new muralism, Gramsci, Garbatella, Quadraro, Ortica, antifascism, Cibo, Orgosolo.
