그리고 당신은 그것들에 얼마만큼 자유를 느끼고 있습니까?
이탈리안 디자이너 카틀렌은 우리에게 삶에 대한 단편적인 조각들을
모빌을 이용한 설치물로 이야기 한다.
자기 자신의 삶의 조각들을 길고긴 연속된 줄로 연결시킴으로써
모든 파편들은 연결되어 있고 그 연결관계로 인하여
삶의 패턴 자체가 바뀌는 다양한 경험을 보여준다.
각자가 갖고 있는 무게(기억에 무게인지, 아픔에 무게인지?)
는 전체적인 발란스를 유지하며 매달려 있다.
이처럼 우리가 갖고 있는 기억의 질량은 같은 것일까?
많은 생각과 질문이 내 자신에게 쏟아져 들어오는 것을 느끼는 프로젝트 인 것 같다.
reviewed by SJ
his controversial work draws on today's popular culture, history and organized religion in a profound way, injected by doses of humor, in an attempt to lighten the vehement themes at hand. his cultural critique is expressed through
disturbingly hyperrealistic sculptures which reveal contradictions inherently apparent at the core of today's society.
much of cattelan's artistic practice is fueled by his childhood. growing
up in the northern italian city of padua, his youth was marked by
economic hardships at home, punishment at school and employment in a
slew of menial jobs. these early experiences have become embedded in the
artist in the form of his abiding mistrust of authority and disdain for
the laborious workforce which is particularly evident in much of his
early artistic production.
amidst his politically and socially charged oeuvre, the artist always
presents himself within, his own characteristic features acting as a mainstay of
his iconography, promoting himself as an everyman, portraying himself as
the fool so that we the viewers don't have to.
offensive, truculent, cheeky can all be used to describe the gestures cattelan
depicts through his sculpture. this anarchist approach extends into
works which revolve around issues of his italian identity and tensions
of the country's
continuously shifting political landscape. in addition a profound concentration on the mortality of forms can be
found
at the core of his practice, the recurring use of taxidermy,
presenting a state of apparent life, premised by actual death
being used as a
means of exploring this thematic concern.
this retrospective presentation of maurizio cattelan at the guggenheim
museum, new york is a summation of everything
the artist has produced since
1989.
appropriately entitled 'all', each piece on show is hoisted up by rope,
as if on gallows, hanging down from the iconic oculus of the
guggenheim's rotunda. in true cattelan-style, this unconventional
arrangement of his work resists the traditional
exhibition format. the sculptures suspended from the ceiling, as a
whole,
appear like a mass execution, which en masse is an overarching,
tragic artwork in itself. the context of this
chronological retrospective creates a site specific installation which celebrates its
own futility, an ultimate sublimation of cattelan's genre.
see designboom's preview article of maurizio cattelan's exhibition 'all' here.
