美术馆现场｜莫瑞吉奥 · 卡特兰在UCCA的个展“最后的审判”
![]()
{{newsData.publisher_name}}
{{newsData.update_time}}
浏览：{{newsData.view_count}}
来源 | {{newsData.source}} 作者 | {{newsData.author}}
以下内容来源于UCCA尤伦斯当代艺术中心，作者UCCA尤伦斯当代艺术中心
意大利国宝级艺术家中国首个个展，集中呈现其三十余年艺术生涯中，29件指涉死亡、社会道德观念、艺术风云人物，以及当代全球化语境下艺术本质和价值等主题的代表作品。莫瑞吉奥 · 卡特兰 / 个展“最后的审判”现场 / UCCA尤伦斯当代艺术中心，北京，2021莫瑞吉奥 · 卡特兰 / 个展“最后的审判”现场 / UCCA尤伦斯当代艺术中心，北京，2021莫瑞吉奥 · 卡特兰 / 个展“最后的审判”现场 / UCCA尤伦斯当代艺术中心，北京，2021
莫瑞吉奥 · 卡特兰 / 个展“最后的审判”现场 / UCCA尤伦斯当代艺术中心，北京，2021
2021年11月20日至2022年2月20日，UCCA呈现意大利国宝级艺术家莫瑞吉奥 · 卡特兰于中国的首次个展“莫瑞吉奥 · 卡特兰：最后的审判”。莫瑞吉奥 · 卡特兰1960年出生于意大利帕多瓦市，是当今国际当代艺术舞台上最受欢迎，也最具争议性的艺术家之一。展览标题“最后的审判”源自意大利文艺复兴大师米开朗基罗为梵蒂冈西斯廷教堂创作的著名壁画。本次展览集中呈现了艺术家三十多年职业生涯中创作的发人深省、戏谑有趣、充满挑战性和启发性的代表作品。鉴于卡特兰过往的展览多注重作品非比寻常的呈现方式，此次展览则以统揽全局的视野，通过松散、开放的空间设计，邀请观者放慢脚步与每件作品进行对话，开启深入体察卡特兰创作理念与艺术哲思的探索之旅。“莫瑞吉奥 · 卡特兰：最后的审判”由弗朗切斯科·博纳米策划，UCCA展览团队刘楷韵、关健、施瑶、杨翛然和林妍组织呈现。
莫瑞吉奥 · 卡特兰 /《家庭词典》，1989 / 银框黑白照片 / 19.7 × 15.2 cm
莫瑞吉奥 · 卡特兰 /《哔嘀哔嘟哔嘀咘》，1996 / 松鼠标本、陶瓷、富美家台面、木材、颜料、钢材 / 45 × 60 × 48cm
图片由UCCA尤伦斯当代艺术中心提供
莫瑞吉奥 · 卡特兰 /《喜剧演员》，2019 / 香蕉、强力胶带/ 尺寸可变
莫瑞吉奥 · 卡特兰 /《张三》，2021 / 衣服，靴子 / 尺寸可变
图片由UCCA尤伦斯当代艺术中心提供
“莫瑞吉奥 · 卡特兰：最后的审判”于UCCA大展厅的开放空间内，呈现涵盖装置、雕塑和行为表演在内的29件代表作品，其中包括艺术家最早期的重要创作《家庭词典》（1989）和著名作品《卡特特兰》（1994）、《哔嘀哔嘟哔嘀咘》（1996）、《二十世纪》（1997）和《喜剧演员》（2019），以及以动物标本创作的一系列作品。展出的特定场域作品，根据不同场地凭空构建无家可归之人可能的生活场景，如本次展出的《张三》（2021），以及以毕加索形象为灵感，与2019年UCCA举办的展览“毕加索——一位天才的诞生”相呼应的行为表演作品，激发观众参与互动，与卡特兰一同展开艺术探索。卡特兰的艺术观根植于当代社会矛盾，不仅质疑了故乡的文化传统与社会刻板印象，还对当今全球化社会的道德观念，以及相关观点产生的语境进行了审视。莫瑞吉奥 · 卡特兰 /《否》，2021 / 硅橡胶、天然毛发、衣服、靴子、纸袋 / 101 × 41 × 43 cm
莫瑞吉奥 · 卡特兰 /《无题》，1997 / 矩形洞、一堆被挪出的泥土 / 尺寸可变
莫瑞吉奥 · 卡特兰 /《母亲》，1999，2021 / 墙绘 / 尺寸可变
莫瑞吉奥 · 卡特兰 /《无题》，2007 / 马标本 / 300 × 170 × 80 cm本次展出的作品部分取材于卡特兰的生活和他作为艺术家的人生经历，以自我为中心的表面人格下出乎意料地包裹着艺术家个体身份的多重面相，引发观众对直面死亡与人生无常，尤其是对艺术家自身面对死亡的沉思。《否》（2021）以跪在地上，头套纸袋的人物宣告人类对命运的一无所知；《无题》（1997）通过为卡特兰量身定制的长方形土坑和一堆土展现了死亡时刻；《母亲》（2021）以墙绘的形式再现了艺术家在1999年威尼斯双年展首次展出的行为表演。对卡特兰而言，又闷又倔的驴代表抗拒艺术家身份的自己，优雅强健的马则是驴的死对头，然而马却在作品《无题》（2007）中威风扫地，被作为反英雄的战利品，难堪地困在美术馆的墙上。
莫瑞吉奥 · 卡特兰 /《无题》，1999 / 布面丙烯 / 100 × 120 × 7.5 cm
莫瑞吉奥 · 卡特兰 /《无题》，2018 / 壁画、松木、钢材 / 343 × 693 × 242 cm
莫瑞吉奥 · 卡特兰 /《工作是件苦差事》，1993，2021 / LED屏幕广告 / 400 × 700 cm
莫瑞吉奥 · 卡特兰 /《无题》，1998 / 行为表演、聚酯树脂、颜料、织物、皮革 / 尺寸可变
其他展出作品在致敬的同时，还对流行文化和意大利的艺术史进行了戏谑，如《小孩》（2011）中蕴含多重意指的鸽子标本；戏仿导演马里奥·莫尼切利电影《圣母街上的大人物》(1958) 场景的《无题》（2001），借用卢西奥·丰塔纳标志性割裂画布手法创作的《无题》（1999），以及《无题》（2018）中缩小版的西斯廷教堂和壁画。在展现艺术哲思的同时，卡特兰还尝试改变物体的大小比例营造特殊的感官体验，如《无题》（2001）中可以运行的微型电梯。1993年，卡特兰首次参加威尼斯双年展，创作了一件对工作和艺术制作充满戏谑挑衅的著名作品《工作是件苦差事》（1993），本次展览以对外出租电子屏幕，多幅广告轮播的方式重现了这件经典作品。行为表演作品《无题》（1998）则对商业化的全球艺术生产体系进行了嘲讽，艺术家通过扮成毕加索的吉祥物提醒观众，所有一切，包括艺术最终都有可能沦为单纯的娱乐。在展览期间，行为互动表演作品《无题》会在周末和特定公共假期于展厅内进行呈现。
莫瑞吉奥 · 卡特兰 /《我们》，2010 / 木材、玻璃钢、聚氨酯橡胶、织物 / 68 × 148 × 79 cm
莫瑞吉奥 · 卡特兰 /《无题》，2008，2021 / 靴子、辣椒树苗、土壤 / 尺寸可变
莫瑞吉奥 · 卡特兰 /《无题》，2009 / 马标本、钢材、木材上毡尖笔 / 158.5 × 200 × 190 cm / 由四方当代美术馆提供
图片由UCCA尤伦斯当代艺术中心提供
莫瑞吉奥 · 卡特兰 /《精迷你》，1997 / 彩绘铂金硅胶 / 总尺寸可变，单个尺寸：15 × 8.5 × 10 cm
“莫瑞吉奥 · 卡特兰：最后的审判”聚焦艺术家对文化深刻尖锐的审视，凸显了主动选择审判与被动接受审判之间的辩证张力。展览动线与空间设计既不是为了埋下隐藏的作品伏笔，也不想营造戏剧般的惊喜效果，而是鼓励观众深入探寻每件作品背后的故事，在当下时代的语境下与艺术家的实践产生共鸣，并对艺术家的创作做出“最后的审判”。
莫瑞吉奥 · 卡特兰 /《无题》，2001 / 铂金硅胶、天然毛发、玻璃钢、衣服 / 150 × 60 × 40 cm
莫瑞吉奥 · 卡特兰的创作自由取材于现实世界中的人和物，其作品透着对艺术和机构的戏谑。他以充满趣味和挑衅的方式将材质、物品和举动置于具有挑战性的场域之中，激起人们的评论和参与。卡特兰自80年代末开始积极创作，1993年参加威尼斯双年展“开放”（Aperto）单元时将自己的展览空间租给了一家广告公司。卡特兰凭借一尊被陨石击中的教皇约翰·保罗二世的蜡像，即作品《第九小时》（La Nona Ora）首次获得国际关注，该作品最初于1999年在巴塞尔美术馆展出。自2010年以来，卡特兰永久安置在米兰阿法里广场的公共艺术介入作品《L.O.V.E.》引发了居民对原本被遗忘的广场的重新利用。同年，卡特兰与摄影师皮耶尔保罗 · 费拉里共同创办了画刊《卫生纸》（TOILETPAPER，半年刊）。2011年，他在第54届威尼斯双年展上展出的两千只鸽子标本引发了人们的激烈讨论。同年，卡特兰在纽约古根海姆博物馆举办个展，将所有作品悬挂于天花板上。展览结束后，卡特兰宣布暂时退休。2016年9月，卡特兰再次回归，以18K金铸造了一个功能齐全的马桶，将其命名为《美国》，卡特兰用这件作品取代了古根海姆博物馆洗手间的马桶，并对公众开放了一年。同年稍晚，他应邀在巴黎钱币博物馆展出其最重要的作品（即“不怕爱”回顾展）。2018年，他在古驰的支持下为上海余德耀美术馆策划了群展“艺术家此在”，以此展览质疑现代艺术最神圣的原则：艺术的原创性、意图和表达。2019年，卡特兰在牛津郡布伦海姆宫举办了由其主要作品组成的个展。开幕当晚，作品《美国》被不明身份的窃贼偷走。2019年12月，卡特兰在迈阿密海滩巴塞尔艺术展上首次展出了《喜剧演员》，用胶带将一根香蕉贴在画廊展台的墙上，再一次激发了全球范围内对艺术本质和价值的探讨。2021年，在米兰倍耐力HangarBicocca基金会的个展中，卡特兰推出了全新力作《盲》，被飞机轮廓穿透的巨大黑色石柱成为20年前9·11恐怖袭击的纪念碑塔。
弗朗切斯科 · 博纳米出生于意大利佛罗伦萨，曾担任2003年第50届威尼斯双年展主策展人，现任杭州当代艺术机构BY ART MATTERS 天目里美术馆馆长。有关具体参观信息、展览同期公共项目、展览图录等更多信息，敬请关注UCCA尤伦斯当代艺术中心官网和官方公众号的更新。
莫瑞吉奥 · 卡特兰 / 个展“最后的审判”现场 / UCCA尤伦斯当代艺术中心，北京，2021
20 November 2021 - 20 February 2022
The Italian-born artist’s first solo exhibition in China presents 29 works from his more than three-decade-long career that confront themes of death, social mores, the colossus of art history, and the nature and value of art in globalized contemporary society. Opening from November 20, 2021 to February 20, 2022, Maurizio Cattelan: The Last Judgment is the first solo exhibition in China by Maurizio Cattelan (b. 1960, Padua, Italy), one of the most popular and controversial figures on the international contemporary art scene. Taking its title from Michelangelo’s fresco in the Sistine Chapel, this exhibition is a focused overview of the artist’s more than three decades of often provocative, mocking, and prankish artistic output. Whereas his art has often been presented in a highly specific manner, this exhibition at UCCA takes a more holistic approach, offering the opportunity to pause and reflect on the artist’s vision and philosophy. Maurizio Cattelan: The Last Judgment is curated by Francesco Bonami, and organized by Liu Kaiyun, Edward Guan, Shi Yao, Anna Yang, and Yvonne Lin.On view within the open space of UCCA’s Great Hall are 29 works of installation, sculpture, and performance works from throughout the artist’s career, including his first major work Lessico Familiare (1989) and the well-known Catttelan (1994), Bidibidobidiboo (1996), Novecento (1997), and Comedian (2019), along with a suite of animal taxidermy works. Site-specific works—such as Zhang San (2021), a sculpture outfitted as a homeless person in Beijing, and a performance piece based on the figure of Picasso that also alludes to UCCA’s 2019 exhibition Picasso – Birth of a Genius —prompt viewers to participate in Cattelan’s artistic exploits within the contradictions of contemporary society, along with his interrogation of the culture and stereotypes of his birthplace, the mores of today’s globalized society, and the contexts surrounding such reflections.Works drawn from the artist’s own biography, identity as an artist, and ostensibly self-centered persona paradoxically open up into a multitude of identities and questions confronting the motifs of death and mortality, particularly the artist’s own: The kneeling figure with a paper bag over his head in No (2021) pronouncing the condition of destiny unknown; a grave moment in Untitled (1997) in the form of a pile of dirt and a hole in the ground the size of the artist’s body; the act of closure in Mother (2021), reprised here as a mural based on a photograph of the original 1999 performance. The nemesis of the artist’s alter ego, the elegant and powerful figure of the horse, shows up as an anti-heroic trophy in Untitled (2007), humiliated and trapped in the museum wall.Other works simultaneously mock and pay homage to pop culture and Italian art history, such as the polysemous taxidermied pigeons of Kids (2011), Untitled (2001)’s mischievous allusion to a burglar scene in the classic Italian film Big Deal on Madonna Street (I soliti ignoti, 1958), Lucio Fontana’s slashed canvas in Untitled (1999), and the shrunken, miniature Sistine Chapel and its frescoes in Untitled (2018). The manipulation of scale is echoed in works reflecting his artistic philosophy such as the small but functioning elevators in Untitled (2001). Working is a bad job (1993), the artist’s irreverent solution to the labor and struggle of art-making created for his first appearance in the Venice Biennale, returns here as an electronic billboard to be leased out to commercial advertisements. In the performance work Untitled (1998), Cattelan pokes at commercializing, global systems of art production as a mascot performer dressed up as Picasso reminds viewers that everything, including art, is at risk of becoming mere entertainment. For The Last Judgment, this performance will take place in the galleries on weekends and selected public holidays during the exhibition period.Along with Cattelan’s poignant questioning of the culture, “The Last Judgment” stresses the tension between the active choice of judging and the passive condition of being judged. Designed neither to push visitors to search for hidden artworks, nor to engender a theatrical sense of surprise as they encounter the pieces, the exhibition encourages viewers to seek out the stories within each work and to form their own personal connections with—and judgments of—the art presented in this new context.Maurizio Cattelan (b. 1960, Padua, Italy) is one of the most popular as well as controversial artists on the contemporary art scene. Taking freely from the real world of people and objects, his works are an irreverent operation aimed at both art and institutions. His playful and provocative use of materials, objects, and gestures set in challenging contexts forces commentary and engagement. Active since the late 1980s, in 1993 he participated in the Aperto section of the Venice Biennale, where he rented out his space to an advertising company. Cattelan first achieved notoriety on an international scale with La Nona Ora (The Ninth Hour), a wax statue of Pope John Paul II hit by a meteorite, which was originally exhibited in 1999 at Kunsthalle Basel. Since 2010, L.O.V.E., a public art intervention permanently installed in Piazza Affari, Milan, has triggered residents’ re-appropriation of an otherwise forgotten square. In that same year, Cattelan launched a biannual, picture-based publication, TOILETPAPER, created together with the photographer Pierpaolo Ferrari. In 2011, he provoked lively debate with an installation of two thousand stuffed pigeons, presented at the 54th Venice Biennale. Cattelan was the subject of a solo exhibition at the Solomon R. Guggenheim Museum in New York that same year, in which all his works were suspended from the ceiling. After the exhibition he announced his temporary retirement as an artist. He returned in September 2016, when he replaced a toilet in the same museum’s restroom with a fully functional replica cast in 18-karat gold, entitled America and made available to the public for a year. Later in 2016, he was invited to stage an exhibition of his most important works at Monnaie de Paris, resulting in the retrospective Not Afraid of Love. In 2018, he curated, with support from Gucci, The Artist is Present, a group show at Yuz Museum in Shanghai which questioned the most hallowed principles of art in the modern era: originality, intention, and expression. A solo exhibition comprised of his major works was held at Blenheim Palace, Oxfordshire, in 2019; on the night of the opening America was stolen by unknown thieves. Cattelan once again stimulated worldwide discussion about the nature and value of art in December 2019, when he debuted his work Comedian, a banana duct-taped to the wall of a gallery booth at Art Basel Miami Beach. In 2021, at Pirelli HangarBicocca in Milan, he presented the major new work Blind, a black monolith with the form of an airplane struck through it, serving as a memorial to the September 11 attacks that occurred twenty years earlier.Francesco Bonami was born in Florence, Italy. He was the artistic director of the 50th Venice Biennale in 2003. He is currently the artistic director of By Art Matters in Hangzhou.
正 在 展 出 I CURRENT EXHIBITIONS
2 NOVEMBER - 23 DECEMBER 2021T 212-977-7160
newyork@mariangoodman.com
Monday - Saturday, 10 am – 6 pm
L O N D O N + P R O J E C T S
NIELE TORONI
12 NOVEMBER 2021 - 11 JANUARY 2022
projects@mariangoodman.comWednesday - Friday, 1 – 5 pm即 将 展 出 I FORTHCOMING EXHIBITIONS
9 DECEMBER 2021 - 5 FEBRUARY 2022
79 rue du Temple
75003 Paris
T 33-1-48-04-7052
paris@mariangoodman.com
Tuesday - Saturday, 11 am - 6 pm
WeChat：MarianGoodmanGalleryWebsite：http://mariangoodman.comFacebook：Marian Goodman GalleryInstagram：mariangoodmangallery
{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
分享