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Maurizio Cattelan

Maurizio Cattelan (Sep 21, 1960) is an Italian artist He is known for his satirical sculptures, particularly La Nona Ora, depicting the Pope John Paul II struck down by a meteorite

Maurizio Cattelan’s artistic career moves into twentieth-century avant-gardism , with a critical approach The avant-garde art develops in the course of the twentieth century in the belief that future life can finally acquire an immanent and absolute sense On the one hand the futurists, on the other, the Dadaists, in contrast to the historical system of art The crisis of ideologies, the stabilization of capitalism, crises avant-gardism Cattelan, by the way, said: “I’m afraid there has never been space for the avant-garde Even the toughest avant-garde has always aspired to consensus, perhaps in the form of immortality “, while not seeing” another solution to make art that is not the avant-garde solution ”

Cattelan’s attempt is to blend together life and art, reality and fantasy As time went on, Cattelan’s actions became increasingly sensational and mass-media Works like A Perfect Day or Hollywood are more similar, even in titles, certain television formats of the 1980s and 1990s, and the artistic tradition In A Perfect Day, Cattelan exhibits his gallery artist Massimo De Carlo; In Hollywood, instead, deconstructs the Hollywood script that lays in the hills of Los Angeles, reproducing it and moving it over a hill near Palermo In both cases, the effect is that of wonder and dissipation of mass-media product The impressions produced by Cattelan would have “the same structure as the candid television room, plus perhaps the taste for the exaggeration of certain David Copperfield shows” These and other works pursue an avant-garde intent: The ninth is now ironic on the spiritual leader of a great religion, A Perfect Day maltratta a gallerist, The Revolution We’re running the avant garde itself in the person of one of its exponents, Joseph Beuys, He puts on his knees and with his hands clenched Adolf Hitler Expressing this avant-garde intent in theatrical sense

Cattelan applies the same methods as television authors to attract the public: eons, for example, The ninth hour – statue of John Paul II struck by a meteorite – right in Poland, the birthplace of the pontiff, at the Zachęta Gallery in Warsaw in December Of 2001, in the month of Christmas Even the exposure of LOVEdavanti to the seat of the Milan Stock Exchange, aroused sharp controversy and media resonance However, after a moment of disdain, the system integrates and does the work, so much so that you decide to leave it in place for 40 years Thus, some works have a result that is opposite to the one pursued by the avant-garde: instead of destroying the system, they reinforce it Thus “the performances and installations of Maurizio Cattelan” say “the vanguard, but” show “the impossibility of it”

Thus, in the production of Cattelan, avant-gardism meets nihilism, particularly in works such as Love Saves Life, Love Lasts Forever, and Bidibibodibiboo

Biography:
Cattelan started his career in the 1980s making wooden furniture in Forlì (Italy), where he came to know some designers, like Ettore Sottsass

He made a catalogue of his work, which he sent to galleries This promotion gave him an opening in design and contemporary art He created a sculpture of an ostrich with its head buried in the ground, wore a costume of a figurine with a giant head of Picasso, and affixed a Milanese gallerist to a wall with tape During this period, he also created the Oblomov Foundation

Cattelan’s personal art practice has led to him gaining a reputation as an art scene’s joker He has been described by Jonathan P Binstock, curator of contemporary art at the Corcoran Gallery of Art “as one of the great post-Duchampian artists and a smartass, too” Discussing the topic of originality with sociologist, Sarah Thornton, Cattelan explained, “Originality doesn’t exist by itself It is an evolution of what is produced Originality is about your capacity to add”

Cattelan is commonly noted for his use of taxidermy during the mid-1990s Novecento (1997) consists of the taxidermied body of a former racehorse named Tiramisu, which hangs by a harness in an elongated, drooping posture Another work utilizing taxidermy is Bidibidobidiboo (1996), a miniature depiction of a squirrel slumped over its kitchen table, a revolver at its feet

In 1999 he started making life-size wax effigies of various people, including himself One of his best known sculptures, ‘La Nona Ora’ consists of an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor and is a good example of his typically humorous approach to work Another of Cattelan’s quirks is his use of a ‘stand-in’ in media interviews equipped with a stock of evasive answers and non-sensical explanations

On March 30, 2004, he was awarded a Degree Honoris Causa in Sociology from the University of Trento On the occasion he thanked with a large conference on the artistic and biographical theme:

“I have many reasons to be embarrassed today, here in front of you At school – it’s useless to keep it hidden – I was a terrible pupil At the third grade, at the end of the year, I was given the workbook with the paperboard: I had spent so long in the corridor that they had taken me as a door I, without the others, are none I’m really empty I also wrote this speech together with a friend, stealing some sentences here and there It is from school time that I go on like this: my teacher got angry because I did not even have the cunning to copy from the best students As you can see, I’m a bad model For me this degree is not a promotion: I’m not raising myself, maybe the professors who have decided to downgrade, to lower myself to my level And it seems to me a good sign: a way to get closer to mixing cards I do not know who usually graduates honors, or graduates in general, but I hope they are destined for those who still want to learn, and not to those who think they already know everything »
In 2008 Cattelan won the Career Award (Gold Medal) of the XV Fourth Annual Art of Rome

On October 25, 2013, Cattelan is awarded the Academy of Fine Arts in Bologna by the Francesca Alinovi Prize (from that edited edition in Alinovi Daolio Prize)

From November 4, 2011 to January 22, 2012, the Museum Solomon R Guggenheim Museum celebrates the artist with Maurizio Cattelan: All his first complete retrospective

In 2008 Cattelan won the Career Award (Gold Medal) of the XV Fourth Annual Art of Rome

Related Post

On October 25, 2013, Cattelan is awarded the Academy of Fine Arts in Bologna by the Francesca Alinovi Prize (from that edited edition in Alinovi Daolio Prize)

From November 4, 2011 to January 22, 2012, the Museum Solomon R Guggenheim Museum celebrates the artist with Maurizio Cattelan: All his first complete retrospective

On March 24, 2009 at MAXXI in Rome,

Cattelan’s art makes fun of various systems of order – be it social niceties or his regular digs at the art world – and he often utilises themes and motifs from art of the past and other cultural sectors in order to get his point across Cattelan saw no reason why contemporary art should be excluded from the critical spotlight it shines on other areas of life and his work seeks to highlight the incongruous nature of the world and our interventions within it no matter where they may lie His work was often based on simple puns or subverts clichéd situations by, for example, substituting animals for people in sculptural tableaux Frequently morbidly fascinating, Cattelan’s dark humour sets his work above the simple pleasures of well-made visual one-liners

Maurizo Cattelan utilizes media to expose reality as well as blur the lines between reality and myth Several of Cattelan’s works play off of the modern day spectacle culture This is a culture that harbors such an immense obsession with images, that the obsession might be easily comparable to idolatry If a Tree Falls in the Forest and There is No One Around It, Does It Make a Sound (1998) is a piece that exemplifies this idea flawlessly The work consists of a taxidermied donkey with its head bowed low, carrying a television on its back It is meant to conjure up the image of Christ riding into Jerusalem on a donkey, for Palm Sunday The television taking Christ’s seat on the Donkey serves a blatant representation of media culture’s replacing tradition as the new object of praise Hollywood (2001) also refigured a current reality in front of a new context The whole of the work entails a giant replica of the southern California Hollywood sign overlooking a dump in Palermo, Sicily Cattelan urges viewers to place images in new contexts that aid in conveying his own perception of current media Even with Cattelan’s satirical depictions of media culture however, he is an artist who understands all of its sides, whose “career has also been marked by…an awareness that artworks exist primarily as images that only gain power with reproduction”

Cattelan’s manipulation of photos and his publications of magazine compilations such as Permanent Food and Charley did not come about without their influences The artist attributes his love of finding the uncanny, the silly, or the seductive in just about any mundane or sensational object, as traceable to the works of Andy Warhol As Cattelan states, “That’s probably the greatest thing about Warhol: the way he penetrated and summarized our world, to the point that distinguishing between him and our everyday life is basically impossible, and in any case useless” Permanent Food and Charley differ in sophistication Both consist of crude layouts, having magazine pages compiled together torn from outside sources The latter, however, was backed by a wide list of recognizable and credible curators His most recent publication, Toilet Paper, differs greatly from the two previously mentioned, as its photographs were originally planned and designated solely for the magazine The level of originality for this magazine surpassed the others, providing the audience vague, oddly familiar photographs to peruse through Toilet Paper is a surrealist pantomime of images that the viewer cannot easily trace back to a starting point, while they’ve most likely been conjured by popular culture It is a whirlwind of loud colors mixed in with the occasional black-and-white photo: “the pictures probe the unconscious, tapping into sublimated perversions and spasms of violence”

With Paola Manfrin and Dominique Gonzalez-Foerster edited the magazine Permanent Food and with Massimiliano Gioni and Ali Subtonick the Charley magazine She collaborates occasionally with the contemporary art magazine Flash Art In September 2010 he created with another photographer Pierpaolo Ferrari another editorial project Toilet Paper

After 5 years of silence and absence from the creative scene, Maurizio Cattelan releases an interview with Corriere della Sera in April 2017, claiming to return but not to be part of the gallery as much as he wants to be part of the public debate

He argues that just when he decided to leave the pub, he got the most fun; He worked full-time in the magazine of photographs founded by photographer Pierpaolo Ferrari , “Toiletpaper” , which until April 14, 2017, becomes a bar with table football and table tennis set up at the Santa Teresa Media Center Of Milan

Artist Maurizio Cattelan claims that in recent years he has devoted himself to researching the thousand lives that he can have an image, working on ideas for furnishing in collaboration with Seletti

Cattelan has anticipated that he is preparing a work to be exhibited in New York in a public space that will be a provocative work on the LOVE trail ; During his break he realized that galleries are less interested in him, but what matters to him is the real contact with the public to win the debate

Works:
One of his most discussed art works is “ghost track”: in December 2009 for his solo show in Milan there was a “strange” similarity between the puppets representation of himself and Massimo Tartaglia (Silvio Berlusconi attacker in December 2009) The media effect and many similarities with La Nona Ora (The Ninth Hour) suggest that “ghost track” is truly a ghost art work of Maurizio Cattelan
Turisti, his new work for the 2011 Venice Biennale made up of 2,000 embalmed pigeons
LOVE (2011), a 36-foot white marble sculpture middle finger sticking straight up from an otherwise fingerless hand, pointing away from Borsa Italiana in Milan
HIM (2001): a sculpture resembling a schoolboy kneeling in prayer, except that the head has been replaced with the realistic likeness of Adolf Hitler The sculpture was frequently displayed at the end of a long hallway or at the opposite end of a white room, turned away from the viewer so that they wouldn’t be able to recognize the individual until they advanced close enough
“Britney” (2010) sculpture of his wife nude
One of his most famous artworks is a sculpture of Pope John Paul II hit by a meteorite, titled La Nona Ora (The Ninth Hour), made in 1999 It was exhibited at the Royal Academy in London as part of the prestigious Apocalypse show, and was sold at Christie’s for $886,000
At the 1999 Venice Biennale, Cattelan created Mother, a project that involved an Indian fakir, who practiced a daily ritual of being buried beneath sand in a small room, with only his clasped hands visible
Turisti (Tourists) (1997), taxidermied pigeons and fake pigeon feces exhibited in the Italian Pavilion at the Venice Biennale of 1997
In 1997, at the Consortium in Dijon, Cattelan dug a coffin-shaped hole in the floor of the museum’s main gallery to acknowledge his own frailty in the face of having to mount a museum show
Another Fucking Readymade (1996): For an exhibition at the de Appel Arts Center in Amsterdam, he stole the entire contents of another artist’s show from a nearby gallery with the idea of passing it off as his own work, until the police insisted he return the loot on threat of arrest
For Errotin, le vrai Lapin (1995), he persuaded his gallerist Emmanuel Perrotin to wear a giant pink rabbit costume shaped like a phallus to Cattelan’s gallery opening
Working Is a Bad Job (1993): At the 1993 Venice Biennale he leased his allotted space to an advertising agency, which installed a billboard promoting a new perfume
Untitled, 2001 (2001), installation created for the Museum Boijmans Van Beuningen in Rotterdam that depicts the artist peering mischievously from a hole in the floor at a gallery of 17th-century Dutch masters
As part of the 2001 Venice Biennale, he erected a full sized HOLLYWOOD sign over the largest rubbish tip on Palermo, Sicily
Daddy, Daddy (2008) was initially premiered in the group exhibition theanyspacewhatever (2008–09) at the Guggenheim Museum The piece is especially unique in that it utilizes the museum exhibition space It is made up of a small pool at the bottom of the Frank Lloyd Wright rotunda where a life-size Pinocchio doll lies face-down, giving the idea that he has jumped or fallen from above: “Cattelan’s life-size effigy of a beloved fairytale character lying face down in the museum’s fountain reads as a crime scene replete with questions of intent: suicide, homicide, or ill-planned escape?” Daddy, Daddy was also featured more recently in the Guggenheim’s 2015 summer exhibition of Storylines: Contemporary Art at the Guggenheim
ILa Rivoluzione Siamo Noi (We are the revolution) (2000), features a miniature Maurizio Cattelan, dangling from a Marcel Breuer–designed clothing rack In this depiction, Cattelan seeks to sets himself apart from the German artist Joseph Beuys, countering Beuys’ statement, “every man is an artist,” with his own, “I am not an artist”
The photograph Don’t Forget to Call You Mother (2000) was utilized as a show invitation card, upon its introduction, by the Marian Goodman Gallery in New York City “The sign ironically reminds customers of their mothers’ worries each time they approach the bar to drinkin mimicking this stern parental directive, the sign draws on attitudes regarding authority, independence, and disobedience” (Susan Thompson)
In 2004, Cattelan exhibited three children-mannequins hanging from a Porta Ticinese tree in Milan, which after a few hours caused the act of disdain of a passer who attempted the remedy slightly wounding and attracting the attention of the media
In 2009, in coincidence with his personal exhibition at Palazzo Reale in Milan, a similarity between the puppets used in his works and Massimo Tartaglia (Silvio Berlusconi’s attendant in Piazza Duomo in December 2009) is noticed [No source]
In 2010 he produces LOVE – Liberty, Hate, Revenge, Eternity – monumental sculpture placed in the Piazza degli Affari, in front of the Palazzo Mezzanotte, home of the Milan Stock Exchange, a building built in 1932 with the style of the fascist twenty-year-old The work depicts a hand in the fascist greeting but with all the fingers cut off – as if eroded by time – except for the middle finger, which makes it visually visualize the gesture of the middle finger raised, gesture generally considered obscene The hand would at the same time be a gesture of irreverence to the symbolism of fascism, both in the world of finance Following the protests of a part of Milan’s political and cultural representation, critics Philippe Daverio proposed moving the opera to Bologna, a “more spiritual” and “more suitable” city to welcome the “ironic gesture” of the Padua artist However, calm down the controversy, the “finger” remained in place
In 2011, Cattelan presented the same installation (Tourists, then renamed in Others) presented in the 1997 edition of the Venice Biennale 2000 (2000 pigeons embalmed instead of 200, placed on the solarium and air conditioning systems of the halls of the Central Pavilion The next day at the inauguration of the biennial, some animalists exposed banner banners within the Gardens, announcing a proxy

Exhibitions:
Cattelan’s work has been on view in numerous solo exhibitions, at the Migros Museum für Gegenwartskunst, Zurich; Artpace, San Antonio, Texas; Centre Georges Pompidou, Paris; the Kunsthalle Basel, Basel; Project 65 at the Museum of Modern Art, New York; as well as at Castello di Rivoli, Turin; Le Consortium, Dijon; the Hôtel des Monnaies, Paris; and Wiener Secession, Vienna A major retrospective, assembling 130 objects of Cattelan’s career since 1989, opened in 2011 at the Solomon R Guggenheim Museum, New York Cattelan has also exhibited at Skulptur Projekte Münster (1997), the Tate Gallery, London (1999), the Museum of Contemporary Art, Los Angeles (2003) and the Museum Ludwig, Cologne (2003), and participated in the Venice Biennale (1993, 1997, 1999, and 2002), Manifesta 2 (1998), Luxembourg, Melbourne International Biennial 1999, and the 2004 Whitney Biennial in New York In 2004, Cattelan exhibited the controversial sculpture Untitled featuring 3 hanging kids for the Nicola Trussardi Foundation In 2012, he participated in the group show Lifelike originating at the Walker Art Center Cattelan came out of retirement to create “Maurizio Cattelan: America,” his latest exhibition on view at the Solomon R Guggenheim Museum For “America” Cattelan replaced the toilet in the museum with a fully functional replica cast in 18-karat gold

Influence in mass culture:
On March 24, 2009 at MAXXI in Rome, Elio, Elio’s frontman and Tese Stories, claiming to be Cattelan, came to the ceremony to retire the prize During the “Elio-Cattelan” conference he answered the public’s questions
Marco Penso and Elena del Drago in 2006 make the mockumentary Cattelan died! Evviva Cattelan! Who sees him as the protagonist of his death with funeral and announcements of the major Italian newsagents The style and title of the fake documentary are inspired by Dead Troy, alive Troisi! [No source]
On June 10, 2014, a mannequin depicting the artist was hanged in Piazza Santo Stefano in Milan The installation, ten years away from the exhibition of the three children at a Porta Ticinese tree, was accompanied by a note titled “IREN – Suicide Cattelan Fallico”, a tribute to the master who after ten years left the art world ”
The work of 1999, The ninth hour, sculpture depicting Pope John Paul II on the ground hit by a huge meteorite, is resumed at the end of the signing of the 2016 television series The Young Pope by Paolo Sorrentino
Between 2005 and 2010 his work has largely centered on publishing and curating Earlier projects in these fields have included the founding of “The Wrong Gallery”, a store window in New York City, in 2002 and its subsequent display within the collection of the Tate Modern from 2005 to 2007; collaborations on the publications Permanent Food, 1996–2007- with Dominique Gonzalez Foerster and Paola Manfrin- and the slightly satirical arts journal “Charley”, 2002–present (the former an occasional journal comprising a pastiche of pages torn from other magazines, the latter a series on contemporary artists); and the curating of the Caribbean Biennial in 1999 Along with long-term collaborators Ali Subotnick and Massimiliano Gioni, Cattelan also curated the 2006 Berlin Biennale He frequently submitted articles to international publications such as Flash Art

“I have many reasons to be embarrassed today, here in front of you At school – it’s useless to keep it hidden – I was a terrible pupil At the third grade, at the end of the year, I was given the workbook with the paperboard: I had spent so long in the corridor that they had taken me as a door I, without the others, are none I’m really empty I also wrote this speech together with a friend, stealing some sentences here and there It is from school time that I go on like this: my teacher got angry because I did not even have the cunning to copy from the best students As you can see, I’m a bad model For me this degree is not a promotion: I’m not raising myself, maybe the professors who have decided to downgrade, to lower myself to my level And it seems to me a good sign: a way to get closer to mixing cards I do not know who usually graduates honors, or graduates in general, but I hope they are destined for those who still want to learn, and not to those who think they already know everything »

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