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Maurizio Cattelan Born in Padua, Italy in 1960, now lives and works in New York.

Some people think that Mao Li Qiaoao Cattelan's works like a joke, but his work is more like a political caricature. His every piece is a reference to an iconic image of provocation and black humor combined with paranoid disaster suffered a meteorite of the Pope; Hitler kneeling prayer; head buried in the wall of a horse.

However, when he works in humor ideas deter us, this mischievous affect his work on us and does not disappear, especially when we see Kennedy barefoot lying in his coffin, or suicidal squirrel After Fudao on a mini-table, after seeing this work in the first impulse to laugh when dispersed survived still impressed in my mind when the time is now hidden. Cattleya mainly satirical politicians, the church, the police force, the arts these authoritative manner to provoke the public's response. He did not obey the attitude has attracted the public debate, especially in the last nail apparatus synagogue in Pulheim, Germany on the cross scene Woman (2008), it leads to the public controversy.

Cattleya neither studio, did not leave his hand signs (though sometimes his face in self-deprecating manner presented) in the works. He claims that he spent most of the time spent on the phone. Starting from an idea, Cattleya hire producers to create stuffed animals and wax image of a super human simulation. He enjoys playing behind the mysterious role of art. Like the unknown thief sneaking in and out of the gallery, or away from their party masters. Although he is often described as a court jester, but I personally was not Cattleya entertain the public, he was just a chicken fleeing artists a stage in front of us to build a scene, and then fled from the scene.

Murray Gio Cattelan (Maurizio Cattelan) is a not received professional college education, self-taught artist. He was born in 1960 in the university city of northeast Italy Padua (Padova). If Cattleya give truly become an artist before doing a job resume, you will find it is really a very rich and eccentric list. He has worked in the work cook, gardener, nurses, carpenters, and even the bodies responsible for the care of the funeral mortuary staff. These rich and unique experience no doubt also with his future artistic creations have inextricably linked.

From the 1980s, Cattleya started  (Forlì, Italy north of the city) in furniture making and wood furniture design tendencies associated with inverse function (anti-functional), and thus became acquainted with some, such as Ettore Sottsass (Ettore Sottsass) of such well-known designers. After the work done for some time, furniture, Cattleya discovered visual arts fun, to go into the real art. To look for opportunities, he also made his work picture catalog to the number of galleries to see. These efforts he began in the nineties in the international art scene.

Cattleya to settle in New York in 1993, continues to bustle in between New York and Milan both. Unlike other artists of that Cattleya do not own studio, his work is often based on the feeling of the exhibition site creation, or even many of the exhibition was conceived by. Cattleya some of the early works of the more obvious with the design sense and to some extent inherited Duchamp (Marcel Duchamp) the concept is now finished art. Works such as "playground" (1991, stadium) is designed Cattleya giant (about 7 meters) table football machine; and "stolen safe" (1992, -76.000.000) used is a true stolen After the safe, the title taken from the amount stolen. In fact, this marks recorded in the art after Cartland are more or less there, and some even see him as a representative of post-Duchamp doctrine (as one of the great post-Duchampian artists) great One of the artist.

After the mid-nineties, stuffed animals, skeletons, realistic sculptures, models, and even live animals began to appear in Cattelan works, these materials are to some extent still is now finished, but gives them more Cattleya drama and presence. (Eg: "Love will save the" Love Saves Life, 1995; "The Ballad of Trotsky" The Ballad of Trotsky, 1996; "suicide squirrel" Bidibidobidiboo, 1996; "Untitled (male ostrich)" Untitled, 1997, etc. ) works often with humor and allegory composition contrast sense of the scene and situation is increasingly becoming a problem of concern to him. To do this he can put a live donkey led into the gallery and also can lifelike dummies or clothed into the corner and roadside puppy real ones.

1999 work, "Elizabeth" (Betsy) is a wax works, the performance was a sitting in the refrigerator topography realistic woman; and "the ninth hour" (La Nona Ora - The Ninth Hour, 1999) is the best known and most controversial Cattelan's works: the shape of the true body of Pope John Paul II (wax), is a meteorite fell from the sky down to the ground. In order to obtain a more realistic sense of the scene, Cattleya even require the hall ceiling glass smashed, so the debris scattered on the ground, so that people can more clearly "restore" the "incident" after. Works reflect a more pungent than his previous works of satire and humor. In order to achieve the effect works super realism, Cattleya and French sculptor Daniel De Lute (Daniel Druet) to cooperate after many simulation-based sculptures are from  hands. In 2001, Cattelan created a "he" (Him) and "Felix" (Felix). "He" is a being reduced to a meter high, kneeling Hitler wax; "Felix" is an amplified several-meter skeleton of a giant cat. This one small change in approach has also become a means Cartland contrast situations frequently used.

Overall, Cattelan works mostly full of strong tension, the tension comes from the work of the right things or unexpected situations conversion, material, size, and other factors genuine, that is a strong contradiction to say or harmony, with Cattleya own words, he hopes his work "kind gentle, reassuring, eye-catching, but it is also degrading and depleted." "After all, in the arts, some people just want to be surprised . "We felt from his works mockery ubiquitous and profound metaphor," his works of art not only ridicule and mockery of the artists themselves, and sometimes also funny to make fun of the history of art as an object. "thus challenging the notion of many convention , including the Museum of Fine Arts exhibition mechanism system. In addition, self, and this is also the subject of death Cartland willing to explore. He often by copying its image (and sometimes also personally show), and ridicule ridicule in order to achieve the intent of the work; in some works with amazing visual forms and manifestations of death (such as: "Suicide squirrel" Bidibidobidiboo, 1996; " Untitled (hanged on a tree Children) "Untitled, 2004;" All "All, 2007, etc.).

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