BC: At The Guggenheim Museum 11-28-2011 with Bradley A Walker Designed by Penny Brawley Photographs by Penny Brawley
FC: GUGGENHEIM'S Death And Duality Exhibit By MAURIZIO CATTELAN
1: THE SAFE This safe is from an actual burglary. It still bears the cuts and scrapes of the the robbers tools. The idea here was to show ready made art with common theft and effectively equates the Gallery with a crime scene. | TEN ITEMS OR LESS This over sized cart is to not only imply over consumerism and consumption but also to have handy in case one wanted to purchase one of his displays.
2: SIGNS This Bar and Red Cross signs were hung outside Cattelan's exhibits denoting a place to get a drink or maybe a pharmacy. People entered thinking one thing only to find Art ,which in his mind was just as refreshing and soothing. | GOERGIA ON MY MIND At an opening in Santa Fe ,GeorgisaO"Keefe made an appearance as an exhibit,walking around with a large Paper Mache head, greeting guest and bringing attention to all the icons of the tourists attraction itself.
3: SEATED DONKEY Cattelan displayed a donkey seated on hindquarters to invite either ,sympathy in it's sad eyed stare and posture as an object of pity ,or suggesting stubborn refusal. Cattelan's original donkey was in live form at a NY gallery in 1994.The Gallery owner shut down the exhibit because of the noise factor forcing Cattelan to go into his Taxidermy Exhibits a decade later.
4: HANGING HORSE The body of a race horse called Tiramisu was Cattelan's first suspended horse in an exhibit called Novecento in 1997. The limp hanging legs and head denotes hopelessness and depicts how humans project their anxieties onto images.
5: STONE DEAD AND GOOD BOY The dog series is to reflect human attitudes about death. Unlike the horse, donkey and others, the dogs don't seem out of place in a house or museum. | ELEPHANT IN SHEET A first solo exhibit at Marian Goodman in NY makes a statement about the KKK ,insuring Cattelan's reputation as a provocateur.
6: AESTHETICS OF FAILURE Here Cattlelan finds humor in everyday life and tragedy.Depicting 1950's Formica furnishings and economic struggles, such as his childhood in a working class family.
7: LOVE SAVES LIVES and LOVE LAST FOREVER These two displays depict a group of farm animals that became friends and set out on their own to explore life. They traveled about singing songs. Frightening a tenant away ,they took over his home and achieved their dream.Two years later the skeletons depict their experiment in freedom cut tragically short,but their bond lasting long after death.
8: WOMAN IN BLACK DRESS A recreation of a life sized woman who appeared in the sky in Frankfurt. Arms outstretched and appearing as some sort of savior, either trying to save us or make us understand to what extent we are damaged. | WOMAN IN CRATE On display in a church in Austria to depict a martyr who is venerated for her stigmata. Thus capitalizing on layers of religious references. In reality this idea was born from a portrait of a woman in a night dress holding on to a door molding and recreated in resin.
9: JFK A martyr to American idealism, this image of the much loved president functions as a reminder for all that has been lost; faith, optimism, and a belief in th US as a beacon of good. This was presented as a solo exhibit in a 17th century chapel in Paris. In an open casket, perfectly groomed except for bare feet to render him saint like.
10: THE NINTH HOUR Pope John Paul II wax figure being crushed by a meteorite and named for the time when Christ died on the cross ,is a comical affront to the catholic church's suffering. Cattelan denies this piece is anti-catholic. This exhibit drew such an out cry from critics that it was vandalized in the Pope's native Poland.
11: HIM A figure of Hitler was originally put in the back of the museum so that you approached it from behind , appearing as a small figure kneeling with hands clasped in front ,wearing a tweed suit and groomed hair. Only when you walked around it did you face the heinous murderer. The title implies that the potential for evil is an undeniable aspect of humans. | AVA MARIA Making this salute now is a criminal act in Germany and Austria. The work seems to suggest reverence and calm that resonates with the title, which oddly enough refers to the catholic prayer Hail Mary
12: MOI-MEME SOI-MEME Myself Oneself Cattelan, having the reputation to replicate other's art ,decided to display the exact same exhibit next door at the Gallery Perrotin in Paris. His work included, Reflection In The Eyes. Visitors were unaware that Cattelan's was the copy and were questioning the next door's exhibit. Cattelan's take on the whole ordeal is that the irony of the art itself reflects the distortion,relocation, and reflection of the events surrounding the art.
13: 5 HANDS Here he displays five hands in a circle with peace signs to form a symbol to mock extremist groups of Italy's recent past | LOVE'S FINGER SCULPTOR Cattelan has always used hands and gestures in his work. This one was placed outside Milan's Stock Exchange pertaining to the economic issues, which at this time in 2010 was near crisis. Cattelan quoted this symbol merely held up a mirror to society. He says he thinks reality is far more provocative than his art.
14: FRANK AND JAMIE Two NYC Policeman standing side by side in symbolic reference to the Twin Towers. Cattelan denies making this work a direct reaction to 9-11 even though the sculptor bears it's scars. His statement was to portray the authorities and our government's inability to protect us in a cataclysmic event. He claims that Art must talk about all and nothing, if it expects to survive more than a season.
15: TARZAN and JANE Here Cattelan had two owners of a Gallery in Naples dress up in lions suits as objects of his art and the exhibit itself. This was a solo exhibit requiring the owners to stay in this display for hours at a time. | DUCT TAPED Here again, Cattelan had a Gallery owner in Milan affixed to a wall with duct tape for two hours during the opening.Though amusing for attendees, the owner had to be rushed to the hospital suffering from shortage of oxygen. By putting his dealers in demeaning positions, such as this, he altered the power dynamics between gallery owners and artist.
16: PINK BUNNY PENIS Gallery owner Perrotin dressed in a giant penis costume to reflect Cattelan's playboy persona. The costume was designed by a cartoonist. | ZORRO Z In the original 1920's film Zorro carved a Z into an officers behind and it became the hero's symbol.It was also an affront to authority Touching a spark in Cattelan's own anti-authority nature, he displays them liberally throughout this exhibit.
17: Array of Displays in Guggenheim Museum's Death and Duality Exhibit
18: SPERMINI Hundreds of tiny latex mask of Cattelan's face that is poking fun at the egotism behind such brash displays of masculinity, thus the title.
19: SUPER US These are drawings of Cattelan by police composites, sketch artist and friends, all resulting from impressions he had made on them ,displayed in a sort of "Most Wanted" Poster.
20: WE This double self - portrait of Cattelan lying in bed with himself is to represent a surreal theatrical presentation.This display was originally presented in Greece on the Island Hydra at a meat slaughterhouse with meat hooks hanging from the ceiling. Here Cattelan embraces the impossibility of artistic identity.
21: UNTITLED This was Cattelan's second photographic self portrait. As then, a keen young artist trying to succeed in the art world.This was taken before his series on taxidermy dogs.This pose might mimic that of a dog, laying on his back, tongue hanging out waiting to be petted. He portrays himself as a jester, rolling on the floor eager to please and waiting on a treat.