maurizio cattelan's middle finger displayed in milan
original content
sep 26, 2010
maurizio cattelan's middle finger displayed in milan

the extended middle finger, pointed towards the financial gurus
image © designboom

the most recent and much discussed artwork by maurizio cattelan arrived
today in milan’s piazza affari,
in front of the italian stock exchange building.
the controversial monument is made in marble, about 4 meters high and
has been allocated on a base that brings the sculpture to a
total height of
11 meters.
during the making process, the famed italian artist changed the title
from ‘omnia munda mundis’ – literally meaning
‘to the pure [men], all
things [are] pure’, a latin sentence that has entered a relatively
common usage in many countries – to ‘L.O.V. E.’

giving the finger to bankers
image © designboom

officially it’s name is L.O.V. E. – so it stands for love – but
can read between the lines and take away the message they see for

maurizio cattelan

image © designboom

conceived especially for milan, all the fingers of the hand are cut off,
except for the middle one,
final mockery of all ‘isms’
- ‘against ideology’.
the public monument was donated to milan but immediately refused by the
city’s administrators.

image © designboom

the sculpture represents also the semantic turnover of the
leader’s assertive gesture and of power, codified by the classical
a dialogue with the past: indeed,
the artist is convinced that he has actually proposed a conservative
and traditional work…
an opinion which the top leaders of palazzo marino (the city’s town
do not agree with.
— it will be on view for only 10 days, during milan’s fashion week!

image © designboom

see here and here more

‘we want to be confirmed as the capital of contemporary art
the city’s administrators officially stated, ‘and we have to not
only mediate
but also accept what we do not like

the sculpture is part of an exhibition of the artist’s works
at the museum palazzo reale, which opens today.
at palazzo reale, only 3 more works are on view in the exhibition ‘against ideology’ :
the ‘crucified woman‘,
an installation of a life-size girl nailed down with pieces of wood and
nails in a package box and put up on a wall,
la nona ora‘ (the ninth hour), the
representation of pope wojtyla fallen to the ground, holding the
pastoral in his hand, hit by a meteorite,
and ‘the drummer‘.

the italian political class continues to stand
in the way of cattelan’s art, a phenomenon which luckily has not
occurred at the guggenheim
museum of new york, ready to host in 2011 a
retrospective dedicated to the contemporary master.
the museum
has approved all the material to exhibit, without any protest, neither
against the ‘loathed middle finger’ nor against the

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