Tag Archives: maurizio cattelan

artists in natural habitiat…

Went to visit the collection at Castello di Rivoli, near Turin, with UNIDEE. They do have a very decent contemporary art collection there, Sol le Witt, Maurizio Cattelan, Rebecca Horn etc…but for me it was more fun to go for the “artists in the art gallery” angle in my photographs…A big thanks to the Castello di Rivoli who allowed us to take photos inside of the collection.

triptychs…

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giardini – catch that pigeon…

Arriving in the Giardini, the first thing i noticed were the pigeons…which at first i thought were real…

but as i entered the Central Pavilion (often called the Italian Pavilion) of the Venice Biennale and i found them everywhere, invading the art space i realised it was in fact an old work by Maurizio Cattelan called Others

…how appropriate as the pigeons metaphorically crapped over some of the pretty dubious choices made by the “controversial” curator of the Central (Italian) Pavilion, Vittorio Sgarbi. However let’s dwell on the positive…

Polish artist Monika Sosnowska conceived a star shaped, wallpapered Para-Pavilion, inside which hangs the powerful and effecting photography of South African photographer, David Goldblatt. If you have the time, read the stories under the photographs, it is really worth the effort…

Ex Offenders at the Scene of the Crime is the title given to Goldblatt’s series…

David Goldblatt on the series Ex Offenders: “Very many South Africans have been the victims of crime, often violent. We have either suffered it personally or we know someone close who has. With much stress and considerable expenditure of income we try to protect our persons and property. Yet withal we remain extremely vulnerable to attack by people who would seize our property and damage or end our lives. Having been a victim of armed robbers, muggers and thieves I asked myself who are the people who are doing this to us. Are they monsters? Ordinary people? Could they be my children? Are they you and me? I wanted to burrow under the statistics and meet some of these doers of crime as individuals. I wanted to do portraits and ask, Who are you, what makes you tick, what did you do, how did you come to do it, what do you think of what you did, what will you do now? Who to photograph and where? Even if I could meet active criminals they would not be likely to agree to being photographed or to answering such questions. I did not want to photograph prisoners in jail. I wanted to meet perpetrators as ‘ordinary’ people such as one might encounter in a street or supermarket. And I wanted to do this in situations that were somehow related to the crimes they had committed or of which they had been accused. So I came to people who had been accused of crime, found guilty and been punished. If they had been in prison, they were now free or on parole. Where to do the portraits? It seemed to me that the scene of crime is likely to be a place of special significance. Life-changing events were probably experienced there. So, with the exception of two portraits that I did at the place of arrest, it is at the scene of crime that I have been doing the photographs. Thus these photographs and the stories of the people within them. Most were trying, often in desperately difficult circumstances, to go straight. Hence I call them not criminals, not offenders, but ex-offenders.”

other posts on the venice biennale 2011 in this blog

pavilions inside gardens inside the biennale

stars of track and field we are

my “i imposter”

stars of track and field we are

interventions on existing public art works…

(my photo of this was rubbish so i had to play with it in illustrator)

Happened across an intervention on the sculpture by Maurizio Catelan a few weeks ago in Milan, already blogged about the work (see previous post).  But this time someone had made an intervention on it, they had placed a ring on that famous finger. Normally i love a bit of guerilla intervention on existing works, but i became less excited when i read the accompanying text which said it had all been done with permission of the local council and the artist etc….no fun…

(this was strung around the plynth – not translating it, it’s not interesting enough)

ANYWAY… it reminded me of a really brilliant intervention made on an Edinburgh landmark years and years ago….

…in front of St Mary’s Cathedral, Picardy Place in Edinburgh stands Eduardo Paolozzi’s giant foot sculpture ‘The Manuscript of Monte Cassino’. Anyway years and YEARS ago (the 90’s i think, does anyone recall?), i remember that someone painted its toenails pink. Genius!, Paolozzi apparently loved it… See below my photoshop re-enactment:

So i remember the real thing being more beautiful and messy, great drips of paint running off the toes and all…but i have scanned the internet and can’t find any pictures, so this will have to do.

maurizio cattelan’s middle finger…

Am moving around a lot at the moment, now am in Milan for work, i come across this relatively new intervention in the heart of Milan’s financial district, the Piazza Affari, right in front of the Italian stock exchange building.

The work is called L.O.V.E. in marble like its rationalist surroundings and including plinth, it is 11 metres high.

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

Well i am a pretty simple person really so i know what i read from it…It is so obvious and puerile (despite the smoke and mirror allusions to classicism..see the broken fingers) that actually i like it, and i like the idea that the stock exchange gets the finger every moment of the day, every day…and i guess, in a city as deeply conservative as Milan it’s good to see something, anything that is not so goddamn POLITE!