Home Italian News Cattelan is back with an exhibition at Pirelli Hangar Bicocca - Arte

Cattelan is back with an exhibition at Pirelli Hangar Bicocca – Arte


(ANSA) – ROME, April 19 – Maurizio Cattelan returns to show in Italy with a large retro design designed for the Pirelli Hangar Bicocca space in Milan. Intitolata Breath Ghosts Blind and was the curator of Roberta Tenconi and Vicente Todolí, reviews, will be held from July 15 to February 20, 2022, summarizing the thirteen years of Venice artist’s work together with new works specially formulated for the Milanese space, expressing it as “a vision of collective and individual history through a grand the iconic view of the life cycle “. In combining new works with the reconfiguration of a historical work, they predict from Hangar Bicocca, “the exhibition evolves in a series of separate activities covering existential themes and concepts. such as fragility of life, personal and community memories and feelings of loss The new site-specific project will question the present value system, between symbolic and figurative references. image belongs to the collective imagination “.
After all, Milan is the city that has welcomed some of Cattelan’s most famous interventions, from the installation in the Piazza XXIV Maggio Untitled (2004), which caused a lot of discussion with the puppets of the three children suffering from hang from a tree at LOVE 2010, with the acronym for Freedom, hatred, revenge, eternal, or the famous and controversial ‘middle finger’ in the Piazza Affari. However, in 2016, a flashback at Guggenheim in New York with an 18-karat gold toilet, a provocative ‘America’ work, followed in 2019 by an exhibition at the Arts Foundation Blenheim in Woodstock, UK, created a sense of precision for the stealing of the precious toilet. Also in 2019, Art Basel Miami Beach’s involvement with Comedian, a piece created by attaching a banana to a wall with tape. In the second case, it is a self-quoted quote from another controversial 1999 installation in which he was actually glued to the wall, always with a silver tape, the owner of the gallery. Massimo De Carlo, therefore, turned into a living work (and the experiment caused a lot of controversy as well because the gallery owner needed hospital admission later in the day).
In recent years there have also been other monographic exhibitions and projects including Blenheim Palace, Oxfordshire (2019); Monnaie de Paris (2016); Solomon R. Guggenheim Museum, New York (2016 and 2011). The last exhibition in Milan was held in 2010 in Palazzo Reale. (HANDLING).

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