La mostra "appesa" che omaggia, in una grande installazione retrospettiva con 128 opere, l'arte di Maurizio Cattelan: inaugurata lo scorso 4 novembre si può visitare fino all 22 gennaio 2012 al museo di arte contemporanea Solomon R. Guggeheim di New York
La altre mostre in corso al Guggenheim:
Kandinsky's Painting with White Border
fino al 15 gennaio 2012
Pop Objects and Icons from the Guggenheim Collection
fino all'8 febbraio 2012
“All”, la grande retrospettiva di Maurizio Cattelan al Guggenheim di New York
Cos’hanno in comune Hitler, il trentacinquesimo presidente degli Stati Uniti d’America, Papa Wojtyla e New York? La soluzione a un ipotetico, surreale indovinello è “All“, la retrospettiva di Maurizio Cattelan aperta al pubblico dal 4 novembre al Solomon R. Guggenheim della grande mela.Fino al 22 gennaio sarà possibile osservare le 128 opere, lasciate penzolare nella spaziosa spirale del museo progettato negli anni ‘40 da Frank Lloyd Wright. Su chi sia Cattelan per il mondo dell’arte contemporanea e quali metodi abbia utilizzato per comunicare le proprie idee non è più un mistero. Sulla sua volontà di andare in pensione, ne avevamo già parlato qualche mese fa. Sebbene molti lo descrivano come un personaggio riservato, sfuggente e difensore della propria privacy, a distanza di pochi mesi sono stati pubblicati due strumenti utili a comprenderlo più a fondo.Francesco Bonami ha provato a raccontarlo nella sua Autobiografia non autorizzata, mentre Catherine Grenier ha da poco pubblicato per Rizzoli il libro-intervista Un salto nel vuoto. La mia vita fuori dalle cornici. A completare la bibliografia, il catalogo monografico a supporto della mostra. I presupposti per un definitivo punto di chiusura di una carriera lunga vent’anni ci sono tutti. I suoi detrattori, comprese le persone che lo hanno sempre additato come un prodotto del marketing - l’ultimo in ordine cronologico è stato il critico francese Jean Clair - tireranno - forse - un sospiro di sollievo.In effetti, al di là del sentimento di amore o odio, và detto che Cattelan non produce nulla di nuovo da qualche anno e nell’ultima Biennale veneziana è scivolato su una autocitazione, riproponendo nel Padiglione Centrale una sua opera del ‘97. Nelle varie interviste rilasciate non ha mai smesso di ribadire la mancanza di ispirazione e la necessità di sperimentare nuove strade. Nell’ultimo anno si è concentrato su progetti meno legati al mondo delle gallerie d’arte: ha curato la grafica di Ora, l’ultimo album di Lorenzo Jovanotti e ha fondato, assieme al suo storico amico-fotografo Pierpaolo Ferrari, la rivista di immagini Toilet Paper. Il momento della pensione era sempre più vicino e, ad ogni occasione, la vicedirettrice del Guggenheim di New York, Nancy Spector, gli ribadiva quanto fosse fondamentale realizzare una retrospettiva conclusiva. Cattelan, dopo l’ennesima richiesta, provò ad assestare uno dei suoi colpi bassi, prima proponendo di lasciare il museo vuoto e disseminare le opere per tutta la città, lasciando agli spettatori il compito di scovarle; in un secondo momento si orientò invece verso l’idea definitiva: raggrupparle tutte e appenderle al soffitto come salami. La sua intenzione era quella di ricevere un rifiuto e mettere da parte il problema. Ma Nancy Spector, forse per punire la sua proposta provocatoria, accettò la sfida. L’allestimento è iniziato in sordina, lontano da riflettori, giornalisti e semplici curiosi, ma il segreto è crollato nel momento in cui è stato visto entrare al Guggenheim un enorme montacarichi. Da lì in poi il problema da affrontare fu convincere i collezionisti di tutto il mondo a prestare le loro opere in un allestimento apparentemente rischioso. Sebbene i cavi di sostegno siano stati testati in uno studio-hangar nel Brooklyn Navy Yard e le coperture assicurative rese immediatamente disponibili a ogni evenienza, l’organizzazione ricevette più di un rifiuto. Alla fine però, l’intera macchina organizzativa è stata azionata. Ciò che gli spettatori si troveranno di fronte da oggi sarà il riassunto di una carriera ventennale e la messa in mostra delle idee e dei sentimenti di un artista che, fin dai primi passi, ha cercato di fuggire dall’immagine che tutti hanno tentato di cucirgli a misura: quella dell’artista irriverente alla ricerca del facile sensazionalismo. Un protagonista che oltre alle mode, oltre alle facili definizioni, è riuscito a ritagliarsi uno spazio preciso nel vastissimo mondo dell’arte contemporanea. Per un uomo che ha fatto della risata grottesca il suo marchio di fabbrica, il rischio maggiore è di leggere quest’ultimo - presunto - atto come uno scherzo; un’allegra e definitiva boutade. Anche se la domanda che continua a ronzarmi in testa è: Ma la parola pensione può veramente valere per un artista?
Di Riccardo Fano
Fonte Panorama.it - 5 Novembre 2011
Cos’hanno in comune Hitler, il trentacinquesimo presidente degli Stati Uniti d’America, Papa Wojtyla e New York? La soluzione a un ipotetico, surreale indovinello è “All“, la retrospettiva di Maurizio Cattelan aperta al pubblico dal 4 novembre al Solomon R. Guggenheim della grande mela.Fino al 22 gennaio sarà possibile osservare le 128 opere, lasciate penzolare nella spaziosa spirale del museo progettato negli anni ‘40 da Frank Lloyd Wright. Su chi sia Cattelan per il mondo dell’arte contemporanea e quali metodi abbia utilizzato per comunicare le proprie idee non è più un mistero. Sulla sua volontà di andare in pensione, ne avevamo già parlato qualche mese fa. Sebbene molti lo descrivano come un personaggio riservato, sfuggente e difensore della propria privacy, a distanza di pochi mesi sono stati pubblicati due strumenti utili a comprenderlo più a fondo.Francesco Bonami ha provato a raccontarlo nella sua Autobiografia non autorizzata, mentre Catherine Grenier ha da poco pubblicato per Rizzoli il libro-intervista Un salto nel vuoto. La mia vita fuori dalle cornici. A completare la bibliografia, il catalogo monografico a supporto della mostra. I presupposti per un definitivo punto di chiusura di una carriera lunga vent’anni ci sono tutti. I suoi detrattori, comprese le persone che lo hanno sempre additato come un prodotto del marketing - l’ultimo in ordine cronologico è stato il critico francese Jean Clair - tireranno - forse - un sospiro di sollievo.In effetti, al di là del sentimento di amore o odio, và detto che Cattelan non produce nulla di nuovo da qualche anno e nell’ultima Biennale veneziana è scivolato su una autocitazione, riproponendo nel Padiglione Centrale una sua opera del ‘97. Nelle varie interviste rilasciate non ha mai smesso di ribadire la mancanza di ispirazione e la necessità di sperimentare nuove strade. Nell’ultimo anno si è concentrato su progetti meno legati al mondo delle gallerie d’arte: ha curato la grafica di Ora, l’ultimo album di Lorenzo Jovanotti e ha fondato, assieme al suo storico amico-fotografo Pierpaolo Ferrari, la rivista di immagini Toilet Paper. Il momento della pensione era sempre più vicino e, ad ogni occasione, la vicedirettrice del Guggenheim di New York, Nancy Spector, gli ribadiva quanto fosse fondamentale realizzare una retrospettiva conclusiva. Cattelan, dopo l’ennesima richiesta, provò ad assestare uno dei suoi colpi bassi, prima proponendo di lasciare il museo vuoto e disseminare le opere per tutta la città, lasciando agli spettatori il compito di scovarle; in un secondo momento si orientò invece verso l’idea definitiva: raggrupparle tutte e appenderle al soffitto come salami. La sua intenzione era quella di ricevere un rifiuto e mettere da parte il problema. Ma Nancy Spector, forse per punire la sua proposta provocatoria, accettò la sfida. L’allestimento è iniziato in sordina, lontano da riflettori, giornalisti e semplici curiosi, ma il segreto è crollato nel momento in cui è stato visto entrare al Guggenheim un enorme montacarichi. Da lì in poi il problema da affrontare fu convincere i collezionisti di tutto il mondo a prestare le loro opere in un allestimento apparentemente rischioso. Sebbene i cavi di sostegno siano stati testati in uno studio-hangar nel Brooklyn Navy Yard e le coperture assicurative rese immediatamente disponibili a ogni evenienza, l’organizzazione ricevette più di un rifiuto. Alla fine però, l’intera macchina organizzativa è stata azionata. Ciò che gli spettatori si troveranno di fronte da oggi sarà il riassunto di una carriera ventennale e la messa in mostra delle idee e dei sentimenti di un artista che, fin dai primi passi, ha cercato di fuggire dall’immagine che tutti hanno tentato di cucirgli a misura: quella dell’artista irriverente alla ricerca del facile sensazionalismo. Un protagonista che oltre alle mode, oltre alle facili definizioni, è riuscito a ritagliarsi uno spazio preciso nel vastissimo mondo dell’arte contemporanea. Per un uomo che ha fatto della risata grottesca il suo marchio di fabbrica, il rischio maggiore è di leggere quest’ultimo - presunto - atto come uno scherzo; un’allegra e definitiva boutade. Anche se la domanda che continua a ronzarmi in testa è: Ma la parola pensione può veramente valere per un artista?
Di Riccardo Fano
Fonte Panorama.it - 5 Novembre 2011
Tues Noc 15th - NYC: Maurizio Cattelan at Guggenheim Museum
November 4, 2011–January 22, 2012
Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power.
Cattelan’s youth in the Italian city of Padua was marked by economic hardship at home, punishment at school, and a string of unfulfilling, menial jobs. These early experiences instilled in him an abiding mistrust of authority and a disdain for the drudgery of labor that haunts much of his early production. He describes his work from the late 1980s and early 1990s as being “about the impossibility of doing something…about insecurity, about failure.” His pronounced anxiety about not succeeding was manifested in a series of performative escape routes from his artistic obligations. Bereft of ideas for his first solo exhibition in 1989, Cattelan simply closed the gallery and hung up a sign reading Torno subito, or “Be back soon.” His early contributions to group shows were equally delinquent: in 1992, his participation in an exhibition at the Castello di Rivara near Turin consisted of a rope of knotted bed sheets dangling from an open window (Una Domenica a Rivara [A Sunday in Rivara]), while his response to the pressure of exhibiting at the Venice Biennale was to lease his allotted space to an advertising agency, which installed a billboard promoting a new perfume (Working Is a Bad Job, 1993).
Cattelan’s disruptive and disrespectful gestures have at times taken the form of creative theft and even overtly criminal activity. 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 (Another Fucking Readymade, 1996), until the police insisted he return the loot on threat of arrest. Cattelan’s anarchist streak extends to works that revolve around issues of his Italian identity and the tensions of the country’s ever-shifting political landscape. In response to a wave of xenophobic sentiment, he formed a soccer team composed entirely of North African immigrants who played in both outdoor competitions and in exhibition settings on an elongated foosball table (Stadium, 1991). Their uniforms bore the emblem Rauss, which recalled the Nazi phrase Juden raus, or “Jews get out.”
Cattelan has also turned to his own distinctive features as a mainstay of his iconography, constructing a series of sculptural vignettes that promote his image as an Everyman, playing the part of the fool so that we don’t have to. Notable examples include La Rivoluzione siamo noi (We are the revolution, 2000), which presents a diminutive Cattelan dangling by his collar from a metal coat rack, impudently dressed in the signature felt suit of German artist Joseph Beuys, and a 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 Old Master paintings (Untitled, 2001). Some of Cattelan’s surrogates have been more allusive, such as the 2008 work Daddy Daddy, an installation first shown in the fountain on the Guggenheim’s rotunda floor, that depicts the puppet Pinocchio—another rebellious Italian boy with an oversized nose—floating facedown as if the victim of a tragic tumble from the ramps above.
Although an ironic humor threads much of his work, a profound meditation on mortality forms the core of Cattelan’s practice. His recurring use of taxidermy, which presents a state of apparent life premised on actual death, is particularly apt for exploring this thematic concern. Perhaps the most poignant of his anthropomorphic animal scenes is Bidibidobidiboo (1996), in which a despairing squirrel has committed suicide in his grimy kitchen. Death stalks the artist’s psyche and creeps into all manifestations of his production. With All (2007), he created what he described as a “monument to death,” a sculpture that would commemorate its unrelenting presence. Derived from ubiquitous media imagery of fallen bodies, and carved from traditional marble, the nine shrouded figures appear as victims of some unnamed trauma, silently recalling the unconscionable realities of our present-day world.
Among Cattelan’s most startling projects is a cycle of lifelike waxworks that portray and contest iconic authority figures. The most incendiary of these works comprise La Nona Ora (The ninth hour, 1999), his notorious sculpture of Pope John Paul II felled by a meteorite, and Him (2001), a rendering of Adolf Hitler in the scale of a young boy, kneeling preposterously in a pose of supplication. Also included is the sculpture Frank and Jamie (2002), in which two New York City policemen are turned upside down and propped against a wall in a posture that has been interpreted as a visual parallel to the sense of vulnerability that permeated the country in the wake of the terrorist attacks of September 11, 2001. A more overtly elegiac scene is constructed by Now (2004), an effigy of a serene and barefoot John F. Kennedy lying in state, a martyr to a shattered American idealism seen from the perspective of a disillusioned present.
Cattelan’s career resists summation by any traditional exhibition format. Many of his early, action-based meditations on failure would be impossible to reconstruct, and his singular, iconic objects function best in isolation. Maurizio Cattelan: All is thus a full-scale admission of the inadvisability of viewing his work in the context of a conventional chronological retrospective. Characteristically, the artist resisted this model, creating instead a site-specific installation that cunningly celebrates its rebelliousness. The exhibition brings together virtually everything the artist has produced since 1989 and presents the works en masse, strung seemingly haphazardly from the oculus of the Guggenheim’s rotunda. Perversely encapsulating Cattelan’s career to date in an overly literal, three-dimensional catalogue raisonné, the installation lampoons the idea of comprehensiveness. The exhibition is an exercise in disrespect: the artist has hung up his work like laundry to dry. Like all of his individual objects, the new installation resonates with multiple interpretive valences. Cattelan has certainly used the motif of suspension before, most notably in the poetically elongated sculpture created from a taxidermied horse, Novecento (20th century, 1997), but here it takes on epic proportions. Hoisted by rope as if on a gallows, the objects explicitly reveal the undertone of death that pervades the artist’s work. In total, the installation looks like a mass execution, and constitutes, for its duration, an overarching, tragic artwork in its own right.
—Nancy Spector, Deputy Director and Chief Curator, and Katherine Brinson, Associate Curator
Installation view: Maurizio Cattelan: All, Solomon R. Guggenheim Museum, November 4, 2011–January 22, 2012. Photo: David Heald © Solomon R. Guggenheim Foundation
MAURIZIO CATTELAN: ALL restrospective at GUGGENHEIM
Images of the first MAURIZIO CATTELAN retrospective « ALL » at the GUGGENHEIM museum NYC .
Until January 22st, 2012 .
Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power.
Cattelan’s youth in the Italian city of Padua was marked by economic hardship at home, punishment at school, and a string of unfulfilling, menial jobs. These early experiences instilled in him an abiding mistrust of authority and a disdain for the drudgery of labor that haunts much of his early production. He describes his work from the late 1980s and early 1990s as being “about the impossibility of doing something…about insecurity, about failure.” His pronounced anxiety about not succeeding was manifested in a series of performative escape routes from his artistic obligations. Bereft of ideas for his first solo exhibition in 1989, Cattelan simply closed the gallery and hung up a sign reading Torno subito, or “Be back soon.” His early contributions to group shows were equally delinquent: in 1992, his participation in an exhibition at the Castello di Rivara near Turin consisted of a rope of knotted bed sheets dangling from an open window (Una Domenica a Rivara [A Sunday in Rivara]), while his response to the pressure of exhibiting at the Venice Biennale was to lease his allotted space to an advertising agency, which installed a billboard promoting a new perfume (Working Is a Bad Job, 1993).
Cattelan’s disruptive and disrespectful gestures have at times taken the form of creative theft and even overtly criminal activity. 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 (Another Fucking Readymade, 1996), until the police insisted he return the loot on threat of arrest. Cattelan’s anarchist streak extends to works that revolve around issues of his Italian identity and the tensions of the country’s ever-shifting political landscape. In response to a wave of xenophobic sentiment, he formed a soccer team composed entirely of North African immigrants who played in both outdoor competitions and in exhibition settings on an elongated foosball table (Stadium, 1991). Their uniforms bore the emblem Rauss, which recalled the Nazi phrase Juden raus, or “Jews get out.”
Cattelan has also turned to his own distinctive features as a mainstay of his iconography, constructing a series of sculptural vignettes that promote his image as an Everyman, playing the part of the fool so that we don’t have to. Notable examples include La Rivoluzione siamo noi (We are the revolution, 2000), which presents a diminutive Cattelan dangling by his collar from a metal coat rack, impudently dressed in the signature felt suit of German artist Joseph Beuys, and a 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 Old Master paintings (Untitled, 2001). Some of Cattelan’s surrogates have been more allusive, such as the 2008 work Daddy Daddy, an installation first shown in the fountain on the Guggenheim’s rotunda floor, that depicts the puppet Pinocchio—another rebellious Italian boy with an oversized nose—floating facedown as if the victim of a tragic tumble from the ramps above.
Although an ironic humor threads much of his work, a profound meditation on mortality forms the core of Cattelan’s practice. His recurring use of taxidermy, which presents a state of apparent life premised on actual death, is particularly apt for exploring this thematic concern. Perhaps the most poignant of his anthropomorphic animal scenes is Bidibidobidiboo (1996), in which a despairing squirrel has committed suicide in his grimy kitchen. Death stalks the artist’s psyche and creeps into all manifestations of his production. With All (2007), he created what he described as a “monument to death,” a sculpture that would commemorate its unrelenting presence. Derived from ubiquitous media imagery of fallen bodies, and carved from traditional marble, the nine shrouded figures appear as victims of some unnamed trauma, silently recalling the unconscionable realities of our present-day world.
Among Cattelan’s most startling projects is a cycle of lifelike waxworks that portray and contest iconic authority figures. The most incendiary of these works comprise La Nona Ora (The ninth hour, 1999), his notorious sculpture of Pope John Paul II felled by a meteorite, and Him (2001), a rendering of Adolf Hitler in the scale of a young boy, kneeling preposterously in a pose of supplication. Also included is the sculpture Frank and Jamie (2002), in which two New York City policemen are turned upside down and propped against a wall in a posture that has been interpreted as a visual parallel to the sense of vulnerability that permeated the country in the wake of the terrorist attacks of September 11, 2001. A more overtly elegiac scene is constructed by Now (2004), an effigy of a serene and barefoot John F. Kennedy lying in state, a martyr to a shattered American idealism seen from the perspective of a disillusioned present.
Cattelan’s career resists summation by any traditional exhibition format. Many of his early, action-based meditations on failure would be impossible to reconstruct, and his singular, iconic objects function best in isolation. Maurizio Cattelan: All is thus a full-scale admission of the inadvisability of viewing his work in the context of a conventional chronological retrospective. Characteristically, the artist resisted this model, creating instead a site-specific installation that cunningly celebrates its rebelliousness. The exhibition brings together virtually everything the artist has produced since 1989 and presents the works en masse, strung seemingly haphazardly from the oculus of the Guggenheim’s rotunda. Perversely encapsulating Cattelan’s career to date in an overly literal, three-dimensional catalogue raisonné, the installation lampoons the idea of comprehensiveness. The exhibition is an exercise in disrespect: the artist has hung up his work like laundry to dry. Like all of his individual objects, the new installation resonates with multiple interpretive valences. Cattelan has certainly used the motif of suspension before, most notably in the poetically elongated sculpture created from a taxidermied horse, Novecento (20th century, 1997), but here it takes on epic proportions. Hoisted by rope as if on a gallows, the objects explicitly reveal the undertone of death that pervades the artist’s work. In total, the installation looks like a mass execution, and constitutes, for its duration, an overarching, tragic artwork in its own right.
—Nancy Spector, Deputy Director and Chief Curator, and Katherine Brinson, Associate Curator
Installation view: Maurizio Cattelan: All, Solomon R. Guggenheim Museum, November 4, 2011–January 22, 2012. Photo: David Heald © Solomon R. Guggenheim Foundation
MAURIZIO CATTELAN: ALL restrospective at GUGGENHEIM
Images of the first MAURIZIO CATTELAN retrospective « ALL » at the GUGGENHEIM museum NYC .
Until January 22st, 2012 .
molto inquietante..
RispondiEliminaè un mattacchione ;)
RispondiElimina