Maurizio Cattelan (born 21 September 1960) is an Italian artist. He is known for his satirical statues, especially La Nona Ora (1999) ( Ninth Clock , describes Pope John Paul II being beaten by a meteorite), He ( 2001), and Love Lasts Forever (1997).
Video Maurizio Cattelan
Early life and education
Cattelan was born on 21 September 1960 in Padua, Italy. He began his career in the 1980s making wooden furniture in ForlÃÆ'¬ (Italy).
He created an ostrich statue with his head buried in the ground, dressed in a figurine costume with a giant head of Picasso, and glued the Milan gallerist to the wall with masking tape. During this period, he also created the Oblomov Foundation.
Maps Maurizio Cattelan
Artistic style
Cattelan's personal art practice has earned him a reputation as a joker in the arts. All of his work has a touch of humor. 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 clever man too." Discussing the topic of originality with the ethnographer, Sarah Thornton, Cattelan explains, "Originality does not exist by itself.This is the evolution of what is produced. [...] Authenticity is about your ability to add."
Cattelan is generally noted for the use of taxidermy during the mid-1990s. Novecento (1997) consists of a taxidermy body of a former racehorse named Tiramisu, who is hung by a suit of armor in an elongated, sagging posture. Another work that uses taxidermy is Bidibidobidiboo (1996), depiction of a miniature squirrel slumped on his kitchen table, a pistol in his leg.
In 1999 he began making eye-sized sculptures of various subjects, including himself. One of his most famous statues, La Nona Ora (1999) consists of a statue of Pope John Paul II in a full ceremonial costume destroyed by a meteor.
Between 2005 and 2010 his work is largely centered on publishing and curation. Previous projects in this field include the establishment of "The Wrong Gallery", a store window in New York City, in 2002 and subsequent views in the Tate Modern collection from 2005 to 2007; collaboration on the publication of Permanent Food , 1996-2007 - with Dominique Gonzalez Foerster and Paola Manfrin - and the satirical satirical journal Charley , 2002-present (the first of which is the occasional journal ) consists of pages torn from other magazines, the last being a series on contemporary artists); and Caribbean Biennial curation in 1999. Together with long-term collaborators Ali Subotnick and Massimiliano Gioni, Cattelan also curated the 2006 Berlin Biennale. He often submitted articles to international publications such as Flash Art.
Cattelan's art makes fun of various order systems and he often uses themes and motifs from past art and other cultural sectors to get his point. His work is often based on simple words or subverts clichà © d by, for example, replacing animals for people in sculptural tableaux. "Often an irresistible humor, humor Cattelan makes his work on the visual pleasures of one sentence," writes Carol Vogel of the New York Times. "
Cattelan utilizes media to expose reality and blurs the line between reality and myth. Some of Cattelan's works play from the culture of modern spectacle. If Trees Fall in the Forest and No One Around That, Does It Make Sounds (1998) is the part that exemplifies this idea. This work consists of an unsaturated donkey with a low bowed head, carrying a television on his back. It was meant to bring up the image of Christ riding a horse in Jerusalem with a donkey, for Palm Sunday. The television that takes the seat of Christ at Donkey presents an overt representation of tradition replacing the media culture as a new object of praise. Hollywood (2001) also redraws the current reality in front of a new context. The entire work requires a gigantic replica of the southern California sign Hollywood that overlooks a landfill in Palermo, Sicily.
From 1996 to 2007, along with Dominique Gonzalez-Foerster and Paola Manfrin, Cattelan published 15 editions of Permanent Food: a magazine built by pages torn from other magazines.
In 2009, Cattelan teamed up with Italian photographer Pierpaolo Ferrari to make an editorial for the magazine's edition Art Issue W . In 2010, they set up a Toiletpaper magazine, an image-based biennial publication. As part of the public art series on High Line in 2012, Toiletpaper is assigned to a billboard on the corner of 10th Avenue and West 18th Street in New York, showing a picture of a well-groomed and ornate woman. fingers, apart from their hands, emerge from a vivid blue velvet background. In 2014, Cattelan and Ferrari produce a fashion spread for the Spring Fashion edition of New York Magazine.
In a project entitled 1968, A Toiletpaper a collaboration between Maurizio Cattelan, Pierpaolo Ferrari and the Deste Foundation in Athens, Cattelan celebrates the work and time of Dakis Joannou and his radical Collection Design. " 1968 is a collection of dreams and nightmares, a collection of inspiration from colored materials, ironies, objects, and bodys.The Toilet's description of this collection produces photographs that trap us in the reference system complex, passing through layers, collages of three dimensions and real time. 1968 is a rainbow, a memory of the storm and the positive projection of the newborn: history plus the future, exquisitely shown in the picture by one character the main of the radical design movement, Alessandro Mendini, who adds important contributions to Toiletpaper 's visual. "- P. [4] cover.
On the eve of Maurizio Cattelan's retrospective opening at the Guggenheim Museum of New York, a Hummer stretch limo with "TOILETPAPER" printed on the side was not parked secretly outside the museum. The pictures in the magazine may seem to have been adjusted from the world's most surreal photo-stock service, but everything is made from scratch. "Every problem begins with a theme, always something basic and common, like love or greed," explains Cattelan. "Then, when we start, we move like a painter on canvas, layering and building problems.We always find ourselves where we do not expect.The best image is the result of improvisation". Many images were rejected, he said, because they were "not Toiletpaper enough". What makes photos Toiletpaper ? "We're still using what is meant as a Toiletpaper image, like distilling perfume, it's not about a particular style or time frame, what makes them Toiletpaper is a special touch." Strange ambiguity. "
Exhibition
Cattelan's work has been exhibited in various solo exhibitions, at the Migros Museum in Gegenwartskunst, Zurich; Artpace, San Antonio, Texas; Center Georges Pompidou, Paris; Kunsthalle Basel, Basel; Project 65 at the Museum of Modern Art, New York; as well as at Castello di Rivoli, Turin; Le Consortium, Dijon; HÃÆ'Â'tel des Monnaies, Paris; and Wiener Secession, Vienna. A large retrospective, assembling 130 Cattelan career objects since 1989, opened in 2011 at the Solomon R. Guggenheim Museum, New York. Cattelan has also been exhibited at the Sculptur Projekte MÃÆ'¼nster (1997), Tate Gallery, London (1999), the Museum of Contemporary Art, Los Angeles (2003) and the Ludwig Museum, Cologne (2003), and participated in the Venice Biennale (1993). , 1997, 1999, and 2002), Manifesta 2 (1998), Luxembourg, Melbourne International Biennial 1999, and Whitney Biennial 2004 in New York. In 2004, Cattelan exhibited a controversial sculpture Untitled featuring 3 hanging children for Nicola Trussardi Foundation. In 2012, she participated in a live group show Living Man from the Walker Art Center.
On the occasion of the 2011-2012 retrospective exhibition at the Guggenheim Museum, Cattelan announced his early retirement. However, by 2016, he returned from retirement to create a new exhibition at Guggenheim, Maurizio Cattelan: America . For America , Cattelan replaced the public toilets at the museum with a fully functional replica in 18 carat gold. The exhibition proved popular, with visitors queuing up waiting for the opportunity to use the toilet in private.
Recognition
Cattelan was a finalist for the Guggenheim's Hugo Boss Prize in 2000, receiving an honors degree in Sociology from the University of Trento, Italy, in 2004, and was also awarded the Arnold Bode prize of Kunstverein Kassel, Germany, in the same year. A career prize (gold medal) was awarded to Maurizio Cattelan by the 15th Rome Quadriennale. On March 24, 2009, at MAXXI Museum of Rome, Elio's singer from Elio e le Storie Tese, announcing that he was the real Cattelan, came to receive the prize.
Art market
In 2004, one of Cattelan's oldest works, a riding kite horse, titled The Ballad of Trotsky , was sold to Bernard Arnault in New York for $ 2.1 million (Ã, Â £ 1.15 million). Par Peur de l'Amour , an elephant statue hiding under a bed sheet simultaneously raising a child on Halloween and the Ku Klux Klan uniform, was sold at Christie in 2004 for $ 2.7 million. Maurizio Cattelan's Untitled (2001) was sold at auction at Sotheby's 2010 for $ 7.9 million. Artist proof Him (2001) was sold at auction by Christie's in 2016 for $ 17,189,000.
Television
Cattelan appeared on the American television program 60 Minutes . In 2016, a documentary about his life and work The Art World's Prankster: Maurizio Cattelan was broadcast on the BBC.
Bibliography
- Maurizio Cattelan and Jens Hoffmann, Caribbean Biennial 6 , Dijon, Les presses du rà © el, 2001, ISBN 978-2-84066-050-7 Francesco Bonami, Nancy Spector, Barbara Vanderlinden and Massimiliano Gioni, London, Phaidon Press, 2003, ISBN 978-0-7148-4306-3
- Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick, From Rats and Men , Berlin, Hatje Cantz, 2006, ISBN 978-3-7757-1765-6
- Giorgio Verzotti, Maurizio Cattelan , Milan, Charta, 2009, ISBN 978-88-8158-267-9
- Franklin Sirmans, Maurizio Cattelan: Is Life After Death? , Yale Press University, 2011, ISBN 978-0-300-14688-2
- Nancy Spector, Maurizio Cattelan: All , New York, Guggenheim Museum, 2011, ISBN 978-0-89207-416-7
References
External links
- Toilet Paper Official website
Source of the article : Wikipedia
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