Maurizio Cattelan

Maurizio Cattelan

Exposición: Jun 8 – Jul 16, 2000


El proyecto Artpace de Maurizio Cattelan invierte el formato del Programa Internacional de Artista en Residencia. En lugar de exhibir su trabajo en la galería, el artista instaló su proyecto en el apartamento de artista de Artpace. Entonces, para ver la obra, el espectador debe visitar la zona «privada» del edificio de Artpace. The West Flat, un apartamento independiente completamente amueblado en el segundo piso, es el sitio de instalación de Cattelan. Dentro del apartamento habitado, emanan sonidos distantes de voces chillonas como de ardillas. Tras una inspección más cercana, el espectador encuentra un agujero de ratón discretamente excavado en la pared del apartamento. Con un bote de basura en miniatura al frente, el orificio está sellado con una puerta igualmente pequeña. Los sonidos de una pelea doméstica, los ánimos enardecidos, están dentro de este pequeño portal.

Este cuadro se relaciona con trabajos anteriores de Cattelan, en particular el Bidibidobidiboo (1996), cargado de emociones, en el que una ardilla de taxidermia parece haberse suicidado. Al reducir la experiencia humana a una escala en miniatura, Cattelan exagera la fragilidad de la vida. El trabajo de Cattelan equilibra la inocencia y el humor infantiles con la violencia o la muerte.

En la instalación de Cattelan, el espectador busca un mundo dentro de un mundo, una narrativa doméstica dentro de un entorno doméstico, bajo el techo de un espacio público. Encontrar el conflicto privado es inquietante a pesar de que se presenta de manera cómica. Quizás sea demasiado familiar, evocando recuerdos tempranos de descubrir la diferencia entre el mundo real y el imaginario. Al dislocar la experiencia del cubo blanco del espacio de la galería al entorno familiar, Cattelan traslada la experiencia artística del ámbito público al personal. Sin embargo, al mismo tiempo, lo privado se hace más público.

Mientras que en la superficie las obras de Cattelan entretienen, al considerarlas más de cerca se desarrolla la condición trágica de la comedia. El artista nos recuerda que la risa cura, no como un escape sino como una liberación de nuestras experiencias.

Artista

Maurizio Cattelan

Milan, Italy

Maurizio Cattelan was born in Padua, Italy in 1960. Based in Milan and New York, Cattelan has exhibited his work widely throughout the 1990s. He has had one-person shows in Europe and the U.S., including projects at Galeria Neon, Bologna (1990); Ars Futura, Zurich (1996); Castello di Rivoli, Turin (1997), Wiener Secession, Vienna (1997); Espace Jules Vergne, Centre d’Art de Britigny-sur-Orge, (1997), INOVA, Milwaukee (1998), The Museum of Modern Art, New York (1998); Kunsthalle Basel (1999); and the Centre Georges Pompidou, Paris (2000). Cattelan represented Italy at the 1997 Venice Biennale, sharing the Italian Pavilion with Enzo Cucchi and Ettore Spalletti. In addition, he has participated in numerous group exhibitions, including the Aperto 93, Venice Biennial (1993); Kwangju Biennial (1995); SITE Santa Fe’s Truce (1997); Sculpture Project Munster (1997); Istanbul Biennial (1997); Manifesta (1998); and dAPERTtutto, Venice Biennial (1999). In 1999, he organized the 6th Caribbean Biennial in St. Kitts, British West Indies. His work is the subject of a monograph published by Phaidon in 2000.
Cattelan’s works blur the boundaries between art and entertainment, performance and reality. Situationist humor is key to Cattelan’s work, which provokes the viewer while pushing the boundaries of the self-contained art world and the frame of the exhibition space. His sculptures, installations, actions and performances critique the dominant structures of cultural production, questioning the politics, hierarchies and class systems that define contemporary life.

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Curadores

Amada Cruz

Los Angeles, CA
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Kellie Jones

New York, NY
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Nancy Rubins

Topanga, California, USA

Born in 1952 in Naples, Texas, Californian Nancy Rubins received her MFA from the University of California, Davis. She has had numerous solo exhibitions, including shows at Paul Kasmin Gallery, The Museum of Modern Art, New York, and the Venice Biennale Aperto. Rubins’ work was included in the 1995 Whitney Biennial and the Museum of Contemporary Art, Los Angeles’ Helter Skelter exhibit in 1992. Rubins teaches at the University of California, Los Angeles’ Art Department. She has received grants from the Rockefeller Foundation, the Tiffany Foundation, and the National Endowment for the Arts.

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Annette DiMeo Carlozzi

Austin, TX
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Dan Cameron

Newport Beach, California

From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.

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Hans Ulrich Obrist

London, England

Hans Ulrich-Obrist is the Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London, positions created for Ulrich-Obrist in April 2006. As a curator at the Musée d’Art Moderne de la Ville de Paris, France since 2000, among many other exhibitions he organized solo shows with Jonas Mekas (2003), Anri Sala (2004), and Cerith Wyn Evans (2006). Before this position Ulrich-Obrist was an independent curator for a decade, organizing the group show Take Me I’m Yours at the Serpentine (1995) and Retrace Your Steps: Remember at the John Soane Museum (1999), also in London, England. Ulrich-Obrist was a panelist in 1998 for the 1999-2000 year of artists, and was invited to be a speaker at the 2003 symposium, but was unable to come due to illness.
Photo by Dominik Gigler

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