”The boundaries which divide life from death are at best shadowy and vague. Who shall say where the one ends and the other begins?” (Edgar Allen Poe, Premature Burial, 1844 )
”In Agape Agape, William Gaddis final novel of despair, a dying narrator expounds, before his imminent demise, a litany of cultures self-infatuating abuses. These abuses, channeled through a Prednisone-laced invective, led to the systemic destruction of the arts in the modern age: mass production, media-driven awards for corporate awards sake (the Pulitzer, the Nobel) and last, but certainly not least, the idolatry of creative facility for pure entertainment, which sterilizes the human spirit from the fundamental capacity to err, turning us into player pianos.” ( James Bae )
Shocking and disturbing.A skillful entrapment of wayward paranoid spirits and corralling of roundup ready archetypes of fear, in a museum of the absurd. An artist who is a showcase for themes of death and violence in supra-reality; a clinical, surgical precision showing a subversive vision of society. The depiction of such ethernal themes is a commentary that informs about the times we live in. Narratives involving death and violence are particularly rich and powerful if not subject to casual treatment which is the general rule in contemporary story lines.
Artists like Maurizio Cattelan probe the tragic and morbid in a deep, insightful and sometimes disturbing manner through his artistic narrative. The mechanics of confrontation, inverted images of power and innocence and the seduction of authority are part of Cattelan’s commentary on the paradoxes of transgression, and its undefined limits, in an interplay between simultaneously existing differing truths and unpredictable conclusions, all in a flight from the mundane. He carries his pictorial statements to extremes so that the realistic depiction of well-practiced social and art world conventions spill over into the absurd and ridiculous. Rather theatrical and ephemeral in his actions, objects, and installations, but deploying ironic sophistication and playful jabs that delve into a collective imagination and common attraction to spectacle; the logos of which are uniquely mined, refined and elaborated on from the riches of popular culture.
Cattelan spares no taboo in unmasking deceitfulness and suffering the public as fool.” Yet, he wants his work to be located somewhere between “softness and perversity,” he says: “It should be tender, comforting and seductive and yet corrupted, twisted and consumed.’ ”