Готовый перевод Лекция Ирины Кулик об итальянских художниках Пьеро Мандзони и Маурицио Каттелане / Irina Kulik's lection about Italian artists Piero Manzoni and Maurizio Cattelan: script of the lecture (2)

Cattelan parodies his gesture, exposing a donkey, which is a comedic character that stubborn that stupid. This silly stubborn donkey for Cattelan - is his alter ego. Again, asking them not to take pictures, to come without dogs, not to smoke and do not feed the animals. But this is the only time when he puts the live donkey, live animal, because that's what starts to work on Cattelan, who himself is, as it were, in the spirit of the fable that man is always an animal. Here's a photo where he portrays a dog, eager to caress or eager to avoid the punishment. And then he starts to develop animalistic subject, but works with stuffed animals. Here's a variation on the fairy tale "The Bremen Town Musicians".

This pyramid of animals which are arranged one on the other, to achieve freedom, to escape from his master in this tale. Cattelan sees a socialist ideal: to escape with his life, making music - but this freedom, the heroic impulse of these animals is just mummified. In the next version there are these same beings, and he seems to say: "What happened to them next?". It is a pyramid of skeletons; that's what forever-love is, and if all this comes to an end so that's always a strange pyramid skeletons. But these skeletons are less scary than stuffed..

Here's a squirrel out of a cartoon, but in animation the same protein can exist in the human interior and experience some human emotions, but this cartoon squirrel had just committed suicide. At the same time the interior in which it is located, it scrupulously, so this squirrel, this cartoon puppet playback format, it is the interior of the kitchen. Parents Cattelan ... kitchen of his childhood is very poor kitchen, where there has been a poor protein, which is probably from the lack of money, some absolute social despair. This cartoon character who behaves actually like a hero in some unrealistic film tortured by life and social injustice.

Project "Tourists", which was recently shown at the Venice Biennale. Rare case where the same project is shown twice at the Venice Biennale. The first time it was made in 1997. The Italian pavilion where Cattelan exhibited with several other artists. What he suggested, is actually stuffed pigeons who sat under the roof of the pavilion, causing the viewer probably to have mixed feelings: on the one hand, it is always so touching: Oh, how touching - living birds have flown, and with the However, it's still not a bird - these same pigeons, which, on the one hand, the symbol of Venice (Piazza San Marco and all that), but on the other hand, the doves - this bird, which no one likes, this city rat . And this feeling. They are very much there, and thus all will fly.

Being a realist-artist Cattelan exhibited not only stuffed pigeons but also pigeon's shit that turns all this beautiful tourist Biennale into this very analogue of the island. With so many horses. Here is a horse that is suspended, it is a symbol of any battle painting, any monument to the commander and the hero; there are only horses that do not carry any generals, but in this case the hero is mentioned - it was Trotsky. At the same time, this horse is absolutely helpless, not to mention that it is stuffed. The next version of it (called a version of the Novecento), which refers to the film by Bernardo Bertolucci's "The Twentieth Century" - an epic about the 20th century and the history itself. And this horse is not just, like, her legs stretched disproportionately, this horse which, as it were, stretched, distorted the course of history, in this case as it is stuffed, it's always quite an eerie sight, the more terrible when there is a story behind it.

This is a job that Cattelan did for the Italian exhibition, which was opened in London, along with a sensation that glorified exhibition "uplpilori" freedom of young British artists such as with whose brutality and scandalousness Cattelan had to compete. So it was a self-portrait:What I do when I'm scared, as always I has nothing to expose only hide my head in the sand and there is a stuffed ostrich, which hit the floor to hide.

Donkey is no longer alive, which is a parody of the entrance to Jerusalem, instead of the prophet, preacher the only thins that can be erected today is a TV.

Stuffed animals - it is always a reminder of death, some sveleta presence of death, something is alive, it is always quite unpleasant. when you vidisheti old works 95 years killed by moth. It always seems funny, because it is a story of cartoon characters / fable and rather creepy as it is always a dead creature that is forced to play the brutal story. It can be quite absurdly. This funny fairy-tale exists in Cattelan's works, it can be a game with scales that may be a story about a poor squirrel, and a tiny hole, which leads somewhere.

Another story with elevators, these elevators were working, they were called buttons, and that is to come. Here's a different kind of parallel world, a parallel gallery that Cattelan is a tiny installation, but for a long time it was a real, well, not a real gallery that he had been in New York. He stuck with this gallery curator Maximiliano Joni but this gallery was only one door. Elegant door to the gallery district in Chelsea, but there can not enter. At the same time there are exhibitions, but it is all that can be in Mestre in the gap behind that door. Here's an anti Geller, which was called Gallery wrong, you're wrong galleries, which he later turned into a tiny little world.

In addition to stuffed animals and stuffed Cattelan creates people and the similarity of their shapes. His first project was built for the campus at the University of Wisconsin - homeless figure, covered with rags. Cattelan did not announce these figures, just set up the campus, which caused public outrage. Then this figure was stolen. He filed a search, eventually found two figures of homeless people, but it was not his work. In the pocket of one of the pieces was a note, "We do not want the Italians here to teach us the art of counterfeiting." Cattelan's works provoke reality look like an act of vandalism.

Another project for the festival of sculpture in Munster - Munster dummy drowned in Lake Out of the blue. This very Figo has not been seen around the lake was just a sign that this project Cattelan, and still do not know whether there was actually a lake in the figure or not.

Criminal grotesque features in the works Cattelan:

The situation of torture - "Living crucified gallery owner," it is not immediately evident sculpture or not. Taksidermirovannye dogs - the most terrible project with animals, because they can be mistaken for living beings. That is an art pugvet that figure could be confused with a live person.

A huge number of self-portraits in which Cattelan finally transforms itself into a toy. One well-known projects, he has been on display in a garage in Moscow - Charlie, a character that reminds the child and the dwarf and a caricature of himself Cattelan. This radio-controlled toy, which went through the alleys, and passers-by did not understand it or not the baby, causing discomfort.

The whole cycle of stories associated with childhood, rather creepy. Charlie do not surf - boy, with his hands nailed to the desk with pencils, embodying school punishment. "Mechanical drummer" - boy sitting as if the museum and proclaiming an event. For many it is synonymous with the movie "The Tin Drum" with this boy, who decided not to grow up. Because in the Nazi era is better not to be an adult. Very controversial project with figures of three hanged children that someone has got to save site visitors and smashed his head. Kattelanovskie works may cause disturbance as an art, but a desire to save them. This unexpected reaction of pity and outputs them from the territory of art.

He works with a kind of material - pieces that are not associated with the arts, it is the figure of Madame Tussauds, is a material that has never been an art, because the character is presented in the museum Madame Tussauds is not a formal portrait, and the equation of wax figures. Therefore, Madame Tussaud's can be represented ubitsa near the governor, a movie star and so on. A set of characters that appears at Cattelan, including himself - is a set of characters Madame Tussauds. So naturally there is a Hitler, but it turned into a child who is kneeling and praying before the gates of the ghetto.

Moreover, these wax figures - this is a very peculiar type of figures. The figures, which are not connected with art. This figure from Madame Tussauds. It is a material that has never been the material of art, but which has become a matter of who created the likeness of the people first, which is not offered to be considered as art. Sculpture or portrait, always sculpture or portrait of a worthy man. A wax figure could be anyone. Wax figures do not admire.

he character represented by the Museum MT should not cause respect, it is just curiosity. Therefore, from the beginning, M.T.S that emerged in the mid 19vv represents wax figures, it is not something that perpetuates the memory, it is not a formal portrait. This is something that all calls. The MTS can be known killer next to a ruler next to a movie star or someone else. Absolutely that all calls. Here there is a set of characters, including characters MTS. There are, of course, there is Hitler. But Hitler, again, turned into a child. This tiny figure with the face of Hitler, but with the body of a little boy. It was Hitler who kneels and prays.

In the photo it is work Сattelana, Hitler was kneeling to gate. And they weren't afraid it thus to expose. Work very ambiguous, very strange. It is work about, whether it can find innocence. This here little Hitler. First, this hell of the childhood, secondly that such Hitler child? Whether there can be a forgiveness at this villain. Well and work absolutely absurd, of course. As well as another, that the subject of fascism, racism, at seemingly apolitical Katelang is present enough. In enough too absurd images, it can be an elephant a ku klux klan, it can be such fascist gesture, simply hands trophies which here so stick out of a wall. There now history with football players which too is connected with the racist background. And it can be really tragic works at Katelang, this lullaby.

Она существует в двух вариантах, вот так она показывалась в Парижском Музее Современного Искусства, так она показывалась в Лондонской Галерее. Что это такое? Это обломки здания, в котором произошел теракт. Это был Миланский Павильон Современного Искусства, там были заложены бомбы в трех местах. В церкви в Риме, в Галерее Уфици и в этом самом Миланском Павильоне. Это был мафиозный терроризм , и единственным местом, где были жертвы, был этот самый Павильон.

And that Cattelan does, he takes the remained construction garbage after these explosions and shows in the museums, that is it as the requiem. At the same time it something cynical, it and game, I show splinters of the museum in the museum, and it is that lullaby. It is history how memory is erased. He told in one interview that this Milan pavilion which not really was suitable for an exhibition of the modern art, wasn't reconstructed or turned into a memorial, and rather restored in the previous form. That is it had a certain desire to immortalize this tradition, it is the real garbage from a tragedy place.

As well as this at first sight innocent Christmas card, actually, too is a reminder about one and terrible tragedies of the contemporary history of Italy. The speech about death of Aldemore, which (which) were kidnapped by the Red Brigades. Eventually hostages were killed, and this star Christmas in the photo, is Aldemore's logo, heads of the Italian government, the photo which certified that it is in hostages. Therefore it is really terrible sign of memory to whom Cattelan with tactlessness peculiar to it reminds. Such here tactless artist if he is the court clown, it can be tactless. And it uses this tactlessness to remind of this tragedy, not to allow to forget.

It uses this tactlessness including not to allow … To remind that all want to forget. To remind of this tragedy with bombs, to remind of this history. To make on the Spanish road here such here announcement of that, how many on this road occurred accidents and how many in them was lost people. And to make such strong, enormous work. These are marble sculptures, baroque, the Prague marble, those folds which need to be represented in marble to show how marble is fine as this material is fine. Well, it is a number of corpses, a number of figures as if of the covered sheets, as after act of terrorism, after some accident, mass suicide.

As the terrible reminder on that, about what actually can be art. The best-known, most scandalous work of Cattelan belongs to a series of accidents, probably, it is a figure of the Pope beaten by a meteorite in which actually, probably, there is nothing mischievous. I don't think that Kattelan such the anti-clerical that he so wanted, in general, all mischievously to subject the favourite Pope here to such here execution. This work is called "The ninth hour" this Gospel the moment of death of Christ on a cross. That is it is quite tragic history, this modern martyrdom, but this history is absurd. It is a mad stage setting from Madame Tussauds's museum with a plot from heading of a yellow press "The meteorite fell to the Pope". It is history which could be allegory, but in there is nothing allegorical. It not for his sins because they weren't, it not anti-churchly.

It is the same absurd image as an image of the praying Hitler. It that the sense isn't present, as if it wasn't wanted to be found, neither justice, nor sense isn't present. There is here such idiotic figure. This sculpture too became object of such peculiar anti-vandalism when it was exposed in Poland. Three figures of the Catholic organization tried to rescue it, that is they tried to clean a meteorite and to lift up this figure that is absolutely absurd because I think that after that this unfortunate father looked even more pathetic and crushed, than in such option. Here it at least some pathetic death. And it too surprising property of Kattelan that his absolutely grotesque works cause such here uncontrollable attacks of pity and desire to rescue from the artist. And yes, it exists already in the form of such here porcelain already souvenir toys, as this its best-known thing. History too such remarkable "Kennedy lying in a coffin".

And this work in France was exposed, it was made for the Parisian autumn salons. It was exposed in the church building, and this church belongs academies of Arts, the church which there isn't operating, but thus it is a coffin which costs in the middle of Catholic church. Too amazing feeling that this old historical event. What it wouldn't be Madame Tussauds's museum, it gives the chance to endure anew this death, through some yellowness, through a yellow press again to feel it, to return to these feelings. Too the phrase, remarkable at Kattelan, in one of interview: "My works not provocative. Life is much more provocative".

But in life we got used not to pay attention, we live as if under anesthesia. Cattelan's works destroy this anesthesia, remarkable property by tactlessness which is peculiar to it. About characters in a coffin such here one more a self-portrait remarkable generally which Kattelan creates in 2010. Why this gesture farewell? Because next year he does the retrospective, and declares that isn't engaged in art any more. This thing, which name as if sends to Robert's work of Indiana, the letters LOVE, from four letters the word, pop art and the hipistichesky slogan. Not really good photo because in principle this gesture is initially read as the raised middle finger, but thus when you examine this statue, becomes clear that at it all fingers except an average of this hand are cut off.

So it is quite possible that originally it was a gesture of love and peace, which was only lifted a finger, which hints that it would like to raise a hand in a gesture of welcome, victory or peace, but that it can show a result, that this is exactly that raised middle finger. The final conceptual show Cattelan held at the Guggenheim Museum, it is called "Everything" as "All of my work," "All that I have done," as "This Is It" and as "All". Here's the most wonderful sculpture - corpses under the sheets, which is also called the "All".

ndeed, in this case, it brilliantly beat the Guggenheim building, which, as you know, is very difficult to put anything, especially make the total installation. He suspended all of its operations inside rodonty, this is a huge Christmas tree without a tree, but with toys which hang all of his sculptures. All of them are hanging, it is interpreted, so to speak, as the mass suicide of his work and himself, because then he said that he would not engage in the arts. He leaves the art. Then in 2012 there was such a billboard of his work. But it was a billboard, which, as it turned out, was advertising his magazine.

He has repeatedly engaged in that published magazines, the artist he was. The last journal that is published now, "toilet paper", the magazine without text, magazine that consists of the pictures, the magazine that showcases efforts to digest all this overdosed visual information that we receive. It's an endless spills outside on such perekormlennostkartinkami with which he, in fact, always worked. Well, what happens next I do not know, I hope he did not tie with art. Well, in general, it is another escape plan, which he undertook at the moment.

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