maurizio cattelan: all retrospective at guggenheim, new york
maurizio cattelan: all retrospective at guggenheim, new york designboom image © alessandro ghirelli
maurizio cattelan: all guggenheim museum, new york until january 22, 2012
italian-born artist maurizio cattelan is considered to be one of the most provocative contemporary artists of our time. his controversial work draws on today’s popular culture, history and organized religion in a profound way, injected by doses of humor, in an attempt to lighten the vehement themes at hand. his cultural critique is expressed through disturbingly hyperrealistic sculptures which reveal contradictions inherently apparent at the core of today’s society.
designboom image © alessandro ghirelli
much of cattelan’s artistic practice is fueled by his childhood. growing up in the northern italian city of padua, his youth was marked by economic hardships at home, punishment at school and employment in a slew of menial jobs. these early experiences have become embedded in the artist in the form of his abiding mistrust of authority and disdain for the laborious workforce which is particularly evident in much of his early artistic production.
amidst his politically and socially charged oeuvre, the artist always presents himself within, his own characteristic features acting as a mainstay of his iconography, promoting himself as an everyman, portraying himself as the fool so that we the viewers don’t have to.
each work is suspended from the oculus of the guggenheim’s rotunda designboom image © alessandro ghirelli
offensive, truculent, cheeky can all be used to describe the gestures cattelan depicts through his sculpture. this anarchist approach extends into works which revolve around issues of his italian identity and tensions of the country’s continuously shifting political landscape. in addition a profound concentration on the mortality of forms can be found at the core of his practice, the recurring use of taxidermy, presenting a state of apparent life, premised by actual death being used as a means of exploring this thematic concern.
ground view designboom image © alessandro ghirelli
this retrospective presentation of maurizio cattelan at the guggenheim museum, new york is a summation of everything the artist has produced since 1989. appropriately entitled ‘all’, each piece on show is hoisted up by rope, as if on gallows, hanging down from the iconic oculus of the guggenheim’s rotunda. in true cattelan-style, this unconventional arrangement of his work resists the traditional exhibition format. the sculptures suspended from the ceiling, as a whole, appear like a mass execution, which en masse is an overarching, tragic artwork in itself. the context of this chronological retrospective creates a site specific installation which celebrates its own futility, an ultimate sublimation of cattelan’s genre.
see designboom’s preview article of maurizio cattelan’s exhibition ‘all’ here.
designboom image © alessandro ghirelli
view of ‘la nona ora’, 1999 designboom image © alessandro ghirelli
installation view of ‘not afraid of love’, 2000 designboom image © alessandro ghirelli
david heald © solomon r. guggenheim
the artist represents himself within his work, his own distinctive features a mainstay of his iconography designboom image © alessandro ghirelli
designboom image © alessandro ghirelli
up close look at ‘him’, 2011 designboom image © alessandro ghirelli
designboom image © alessandro ghirelli
david heald © solomon r. guggenheim
maurizio cattelan (19 articles)
opera 'music video' by maurizio cattelan & pierpaolo ferrari is as wild as you'd imagine
the trumps ask to borrow a van gogh. the guggenheim offers a solid gold toilet instead.
maurizio cattelan + pierpaolo ferrari's TOILETPAPER paradise in NY is 'mad men on acid'
seletti, gufram and TOILETPAPER at art basel miami
maurizio cattelan returns to the art world with a major exhibit at the monnaie de paris
maurizio cattelan installs fully functional, 18-karat gold toilet at the guggenheim
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curated by the neighborhood, this book shelf illusion features 8 languages and cultures
#art
no political books, no religious books -- those were the only rules.
no political books, no religious books -- those were the only rules.
carlos amorales' swarm of thousands of black butterflies invades fondazione adolfo pini
#art
15,000 paper creatures populate the foundation's new and existing spaces, starting from the staircase at the entrance.
15,000 paper creatures populate the foundation's new and existing spaces, starting from the staircase at the entrance.
dystopian fairy tale by nick stath depicts mountains and trees as 'monuments of the past'
#art
'monuments of the past' is an illustrated architectural narrative that poses what life could be like in a future where mother nature and her resources have »
'monuments of the past' is an illustrated architectural narrative that poses what life could be like in a future where mother nature and her resources have diminished before our eyes
alex chinneck 'unzips' a building's traditional façade for milan design week
#art
the zip is used to give way to a series of surreal crevices from which an ethereal and weightless light disseminates.
the zip is used to give way to a series of surreal crevices from which an ethereal and weightless light disseminates.
Cattelan is more autobiographical novelist than visual artist — he doesn’t transform the visual so much as represent his manipulated memories. There’s a narrative in most of his images, a short story or perhaps a poem. And most are far too personal to be shared by many others, and therefore humble, not vaunting. The Guggenheim has rarely been filled with such richly poignant humanity.
i love that guy!
@ Tom P : i don’t think “most of [is work is] far too personal to be shared by many others”. all the opposite actually. his language is accessible on a very simple way and “speaks” loud & clear.
Photos cannot do Maurizio Cattelan: All justice. Except for maybe the photos of stunned museum goers who can’t believe their eyes! Where else will you see animals suspended in the air?!