I love the art work from the Italian artis Maurizio Cattelan. Cattelan started his career in Forlì (Italy) making wooden furniture in the 1980s where he came to know some designers like Ettore Sottsass. He made a catalogue of his work which he sent to galleries. This promotion gave him an opening in design and contemporary art. He created a sculpture of an ostrich with its head buried in the ground, wore a costume of a figurine with a giant head of Picasso, and affixed a Milanese gallerist to a wall with tape. During this period, he also created the Oblomov Foundation. Cattelan’s personal art practice has led to him gaining a reputation as an art scene’s joker.
In 1995 he began his line of taxidermied horses, donkeys, mice and dogs; in 1999 he started making life-size wax effigies of various people, including himself. One of his best known sculptures, ‘La Nona Ora’ consists of an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor and is a good example of his typically humorous approach to work. Another of Cattelan’s quirks is his use of a ‘stand-in’ in media interviews equipped with a stock of evasive answers and non-sensical explanations.
Between 2005 and 2010 his work has largely centered on publishing and curating. Earlier projects in these fields have included the founding of “The Wrong Gallery”, a store window in New York City , in 2002 and its subsequent display within the collection of the Tate Modern from 2005 to 2007; collaborations on the publications Permanent Food, 1996–2007- with Dominique Gonzalez Foerster and Paola Manfrin- and the slightly satirical arts journal “Charley”, and one of the best exibhitions in his name the “Maurizio Cattelan: All” at the Solomon Guggenheim Museu New York could been seen hanging from the ceiling at 2011.
Frequently morbidly fascinating, Cattelan’s dark humour sets his work above the simple pleasures of well-made visual one-liners. He has been described by Jonathan P. Binstock, curator of contemporary art at the Corcoran Gallery of Art “as one of the great post-Duchampian artists and a smartass, too”.