Pinchuk Art Centre, Kiev: Forever Now

Maurizio Cattelan, AVE MARIA, 2007, polyurethane with metallic parts and clothes, dimensions variable

Collection Platform 3: Forever Now
19 May 2012 – January 2013

PinchukArtCentre presents Collection Platform 3: Forever Now show, a comprehensive selection of nine artists, highlighting central work groups presented in a space devoted to each artist. The exhibition is located on the 5th floor of the art centre.

Collection Platform 3: Forever Now combines a comprehensive selection of nine artists highlighting central work groups presented in a space devoted to each artist. A dynamic combination of leading artists of today together with the young generation, including
the winner of the first edition of the PinchukArtCentre Prize and the winner of the Future Generation Art Prize: Maurizio Cattelan, Olafur Eliasson, Andreas Gursky, Damien Hirst, Jeff Koons, Cinthia Marcelle, Boris Mikhailov, Takashi Murakami, Artem Volokytin.

Some highlights of the exhibition are: Pyongyang V by Andreas Gursky that will be exhibited in Ukraine for the first time; Self-Portrait by Jeff Koons from the Celebration series; triptych Nothing Matters / The Empty Chair by Damien Hirst; My Lonesome Cowboy and Hiropon by Takashi Murakami; and From the series Football (2003) by Boris Mikhailov.  

In Focus: Maurizio Cattelan, Ave Maria, 2007

Ave Maria shows three arms in brown suits sticking out from a wall in what is commonly known as the Roman salute, as performed by Italian fascists under Mussolini. Cattelan uses an image which is part of our collective memory and transforms it into a memorial. The image itself provokes, and with this almost pretentious gesture Cattelan transgresses social-political taboos. The aggravated viewer, confronted with the politically incorrect image, receives the second blow when seeing the title, Ave Maria. Here Cattelan in two words connects the history and practices of fascism with the Roman Catholic tradition.

This work, as many others in the artist’s oeuvre, finds its roots in the soul of Italy, its history, culture, socialpolitical
reality and especially its unique relation with the Roman Catholic church. Cattelan reveals himself as a prankster whose work doesn’t eschew controversial themes. He asks the viewer about the history of the church, the use of power, and confronts each of us with our responsibility in the role we play in this.

The installation is exemplary for Maurizio Cattelan’s artistic practice: creating iconic images inspired by popular culture and our social-political history. With a strong sense of humour and (self-)irony, he creates hyper-realistic sculptures which reflect on the contradictions in contemporary society.

Maurizio Cattelan was born 1960 in Padua, Italy. He lives and works in New York and Milan. He has exhibited at Skulptur Projekte, Münster (1997), the Tate Gallery, London (1999), the Museum of Contemporary Art, Los Angeles (2003) and the Museum Ludwig, Cologne (2003), and participated in the Venice Biennale (1993, 1997, 1999 and 2002). In 2011 he concluded his artistic practice, announcing his retirement, with a strongly discussed solo exhibition at the Guggenheim Museum, New York.

Changing twice a year, the collection platform is highlighting leading artists of our time together with upcoming new positions in the exhibition platform. Featuring central Ukrainian artists as part of the Collection Platform, this program allows a new perspective on contemporary art. It is a dynamic model of interaction between the collection and new workgroups with a focus on on their artistic value.

Collection Platform viewing area directly connected to selected works offers the audience a deeper understanding of artists and their works. The idea is to slow down the speed of viewing and, by giving more information, allow the visitors to acquire more knowledge, competence and experience as integral part of the education offensive.

1/3-2, "А" Block,
Velyka Vasylkivska / Baseyna vul.,
Kyiv , Ukraine 01004

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