When I found out I would have the opportunity to go to NYC last weekend, the first thing I did was check the exhibitions dates for the mid-career retrospective of Maurizo Cattelan: All at the Guggenheim. I made it just in time, literally, as the ground-breaking show closed on Monday.

Such an intriguing captivation and the only career retrospective I can think of that’s very existence changes the impact of every single piece of art shown; and there is an example of nearly all his work.  In a unique feat of engineering and in pure Cattelan fashion (he has always been such an anti-authorian rule breaker), every piece of art is hung down the center of the Guggenheim’s signature rotunda. Besides the visual spectacle of  performance and the pure beauty of a giant sculpture of sculptures, I was most interested in how the meanings of the work shifted in this unconventional arena. The relationships formed between pieces changed, perhaps forever, the way in which they used to function. Like Not Afraid to Love, the life-size baby elephant covered in a sheet that originally shown solo referenced the formidable subject of the KKK, the artist’s frequent use of disguises  and that ever present elephant in the room. But barely visible placed on top of the elephants head is the piece Untitled,  a tiny ant making an obscenity gesture. This  ant was the sole work  Cattelan showed at the Gwangju Biennial in 1995. It was placed in the center of a large dark gallery, illuminated by only a spotlight. Both pieces separate, in context, were at a time controversial works dealing with Cattelan’s insecurities, but placed together become playful and a symbol of the vastness of life development. The entire exhibition was full of puns and awe-inspiring moments, proving Cattelan’s detest for order by upturning the very rules he set for himself throughout his 22 year career.

Not Afraid of Love, 2000

Novecento, 1997 (the horse) and Untitled, 1998 (the big dark cube is real soil with a live planted olive tree)

*Stephanie, 2003   and Untitled, 1997 ( mouse  on raft on top of work)

 *was commissioned by a wealthy patron, who wanted a work for his beautiful model wife. When Cattelan visited their house and saw the man’s impressive taxidermy collection displayed on the walls… he created this.

If you like these works and want to learn more about Cattelan or ALL, I highly recommend the catalogue. It’s a great read and gives wonderful insight into the production and every single work. Get it HERE.