Deliberately crazy clown and prankster, provocateur born, multi-character cards, perfect representative of an art that is available today on the triple mode of the scandal openly ideological, derision and a resounding commercial success, Maurizio Cattelan is needed to reach this question, too sensational or (falsely) shattering of the "end of art", the "suicide" and the disappearance of the artist.
This "end of art", on which Hegel meditated in the early nineteenth century (the art front, he said, and to reverse themselves within the aesthetic or reflection on art) has been known for many avatars.
All of Cattelan's works, today and hung suspended for a retrospective (presented as definitive : ALL) in the nave of the famous Guggenheim Museum in New York, works as a sort of macabre record. Long ago that Maurizio Cattelan has joined the other works of these galleries, museums and foundations where the works fossilize, thus entering within the Monument or the House Forte now what are known as art or History of Art.
What more now ? The artist must he, like a ghost, disappear, vanish ? To commit hara-kiri ? Bypass and elsewhere ? But how ?
Suicidal artists : they are few. In 1970, the writer Mishima (who also practiced the ideology and disturbing high dose) staged his own suicide. Others, like Rimbaud or Lautreamont, knew how to hide, disappear or change completely from life and activity. Others (Van Gogh, Artaud) were the suicide of the society that has since largely recovered its implementation (or non-implementation) initial value of the works initially denigrated having deliberately increased over time.
Where can therefore be place now if the man Maurizio Cattelan "stops" as he tells us to make art ? Business in the "pure" ? In the agitprop ? In journalism ? Or recycled in a circus, a new kind of course, but looks just like the circus of contemporary art ...
The future of our artist are not they - in advance - and trapped included in this system and the art circuit where he was pleased to introduce one day his toes and hands (and we know that in his work, there are the feet and hands, sometimes huge) ?
Marcel Duchamp knew of this radius, he saw his single "time use" integrated de facto in the history of art in his Great Work.
Exit Art, when you came in, it is not simple. Especially from the time when you were told (and repeated) that art is above all an attitude, a mode of being, a constant provocation.
The mechanism of the "recovery" (the simple recovery ideology) has been there. - Symptomatic remains in that, for the action of Maurizio Cattelan in 2001, full Venice Biennale, to be transported by plane patrons and sponsors on the site of a landfill, near the city of Palermo, transforming and in monetary situation that fell within the waste and non-value.
The « Action Cattelan » (in both senses of performance and Title listed) is probably not stay. Long time can be fun, frightened or angry dance of the puppets, many (even before they appear in the Hall of works by the artist) belonged, so outrageously diverse in history : Hitler Pope John Paul II, Pinocchio, Picasso, etc..
Can we put on a par with those kinds of icons 'cultural' has become of these characters, real or fiction? This is probably the rub. Hitler is not Pinocchio. Have us believe is a normal slope of our culture that tends to amalgamate all the great maelstrom in the bazaar and its signs.
Or you have to take on the mode of termination. And rise against this culture that brings everything back to leveling the order and logic of the supermarket. - Facilities Cattelan, I read them and want to read about how the total derision, the mode of a critique of this state of ideological puts players on the same level historical and mythological characters. I'm not sure that all read - these works - the same way.
One thing troubles me: This retrospective at the center of this temple of art that is the Guggenheim in New York that " ALL " means all facilities and earlier works by Maurizio Cattelan, picked, packed, suspended and exhibited together. As in a hypermarket. Taken alone, each of these facilities is strong. Amalgamated with each other, taken in themselves as in the stratification of any sandwich, these works pale, lose their charge.
To have this amazing space of the Guggenheim to design and produce a new work. Wide and massive size and, presumably, charge the most corrosive. Cattelan is there thought ? - It would have at least waited, hoped ...
So why this confusion, the foliation, that "hypermarket Cattelan" ? A supreme form of derision? Before the disappearance and the "killing of his works by the artist themselves." End of art. Endgame . - It is in Godot.
This "end of art", on which Hegel meditated in the early nineteenth century (the art front, he said, and to reverse themselves within the aesthetic or reflection on art) has been known for many avatars.
All of Cattelan's works, today and hung suspended for a retrospective (presented as definitive : ALL) in the nave of the famous Guggenheim Museum in New York, works as a sort of macabre record. Long ago that Maurizio Cattelan has joined the other works of these galleries, museums and foundations where the works fossilize, thus entering within the Monument or the House Forte now what are known as art or History of Art.
What more now ? The artist must he, like a ghost, disappear, vanish ? To commit hara-kiri ? Bypass and elsewhere ? But how ?
Suicidal artists : they are few. In 1970, the writer Mishima (who also practiced the ideology and disturbing high dose) staged his own suicide. Others, like Rimbaud or Lautreamont, knew how to hide, disappear or change completely from life and activity. Others (Van Gogh, Artaud) were the suicide of the society that has since largely recovered its implementation (or non-implementation) initial value of the works initially denigrated having deliberately increased over time.
Where can therefore be place now if the man Maurizio Cattelan "stops" as he tells us to make art ? Business in the "pure" ? In the agitprop ? In journalism ? Or recycled in a circus, a new kind of course, but looks just like the circus of contemporary art ...
The future of our artist are not they - in advance - and trapped included in this system and the art circuit where he was pleased to introduce one day his toes and hands (and we know that in his work, there are the feet and hands, sometimes huge) ?
Marcel Duchamp knew of this radius, he saw his single "time use" integrated de facto in the history of art in his Great Work.
Exit Art, when you came in, it is not simple. Especially from the time when you were told (and repeated) that art is above all an attitude, a mode of being, a constant provocation.
The mechanism of the "recovery" (the simple recovery ideology) has been there. - Symptomatic remains in that, for the action of Maurizio Cattelan in 2001, full Venice Biennale, to be transported by plane patrons and sponsors on the site of a landfill, near the city of Palermo, transforming and in monetary situation that fell within the waste and non-value.
The « Action Cattelan » (in both senses of performance and Title listed) is probably not stay. Long time can be fun, frightened or angry dance of the puppets, many (even before they appear in the Hall of works by the artist) belonged, so outrageously diverse in history : Hitler Pope John Paul II, Pinocchio, Picasso, etc..
Can we put on a par with those kinds of icons 'cultural' has become of these characters, real or fiction? This is probably the rub. Hitler is not Pinocchio. Have us believe is a normal slope of our culture that tends to amalgamate all the great maelstrom in the bazaar and its signs.
Or you have to take on the mode of termination. And rise against this culture that brings everything back to leveling the order and logic of the supermarket. - Facilities Cattelan, I read them and want to read about how the total derision, the mode of a critique of this state of ideological puts players on the same level historical and mythological characters. I'm not sure that all read - these works - the same way.
One thing troubles me: This retrospective at the center of this temple of art that is the Guggenheim in New York that " ALL " means all facilities and earlier works by Maurizio Cattelan, picked, packed, suspended and exhibited together. As in a hypermarket. Taken alone, each of these facilities is strong. Amalgamated with each other, taken in themselves as in the stratification of any sandwich, these works pale, lose their charge.
To have this amazing space of the Guggenheim to design and produce a new work. Wide and massive size and, presumably, charge the most corrosive. Cattelan is there thought ? - It would have at least waited, hoped ...
So why this confusion, the foliation, that "hypermarket Cattelan" ? A supreme form of derision? Before the disappearance and the "killing of his works by the artist themselves." End of art. Endgame . - It is in Godot.
