Maurizio Cattelan
2019
·
Comedian, 2019, banana, duct tape
,
dimensions variable. Photograph by Zeno Zotti, courtesy the artist.
Wish
Y o u W e r e
Here
@
UCCA798
@
UCCA
@
·
·
1960
UCCA
Born in 1960 in Padua, Italy, Maurizio Cattelan
is one of the world’s most celebrated—and
controversial—contemporary artists. His practice
combines provocations, pranks, and mockeries with
astonishing and deeply touching artworks. After
Cattelan’s first solo exhibition in China, “The Last
Judgment,” which opened to wide acclaim at UCCA
Beijing last year, his journey through the country
continues with this new exhibition in Shenzhen,
which addresses his quest to explore human feelings
and relationships.
“Wish You Were Here” is a hymn to longing and
separation, which are inextricably linked to the
human urge to explore new realities and unknown
spaces. In this exhibition, the artist creates a
dialogue between the various elements that form the
experiences of travellers of all kinds—from armchair
explorers who embark on fantastic voyages of the
mind, to migrants, nomads, and regular tourists.
The artworks alternate between earnest and
absurd in Cattelan’s classic manner, including
somber masterpieces, cynical souvenirs, and even
advertisements for himself. The artist uses humor as
a vehicle for his own emotional state, entangling it with
the consciousness of the viewer.
From the new installation in the main hall, an
overwhelming mass of hanging sheets, to the single
duct-taped banana that constitutes Comedian (2019),
Cattelan creates spaces and narratives that visitors
enter and explore as if setting out on a mysterious—
and entertaining—journey. At its heart, Cattelan’s
work is about connection, specifically how each of us
connects with other people. This theme is particularly
urgent at a time when many of us are separated,
unable to travel and meet as we once did. Given the
artist’s awkward relationship with his audiences—
sometimes fleeing from attention, sometimes placing
himself at the center of his work—you might not
actually wish for him to be here. But rest assured,
Maurizio Cattelan’s wish came true—you are here.
“Maurizio Cattelan: Wish You Were Here” is curated by
Francesco Bonami, organized by UCCA’s exhibitions
team, and co-presented by UCCA and SWCAC.
·
·
·
UCCA
UCCA
SWCAC
·
Photograph by Pierpaolo Ferrari, courtesy the artist.
·
2022.7.9 – 2022.10.16
Maurizio Cattelan: Wish You Were Here
Kids
1997
2011
2021
·
1963
Kids is the latest iteration of a series of works by Cattelan
featuring taxidermied pigeons, beginning with Touris ts
(1997) and including Others (2011) and Ghosts (2021).
The pigeons’ presence is disturbing, much like that of the
antagonists in Alfred Hitchcock’s 1963 film The Birds.
Ye t p i geon s a re a l so a fa m ilia r s i ght i n t h e p u blic s q uare s
of Italian cities, including art tourism centers like Venice.
There, the birds mingle with tourists, who in some ways end
up behaving like the birds, disrupting the life of the city and
leaving garbage in their wake. The previous title of Others
may also refer to migrants (increasingly visible in public
spaces in Italy), whose presence can be familiar, enriching,
or, to some, menacing. The title Kids stresses the generic
nature of this group of birds: when we see a group of children
on a schoolyard or playground, we may perceive them as
a collective, not individuals. For the artist, the pigeon is a
symbol of anonymity, which may be passive or threatening.
2011
2019
·
Installation view of Others, 2011, “Victory is Not an Option,” Blenheim Palace,
Woodstock, UK, 2019. Photograph by Zeno Zotti, courtesy the artist.
Daddy, Daddy
·
1940
·
1883
2008
Throughout his career, Maurizio Cattelan has been deeply
influenced by the imagery of Disney’s animated films. The
puppet Pinocchio is one of the most famous characters in
Italian literature and the country’s popular imagination, yet
also one that was radically transformed in Disney’s 1940 film
adaptation of Carlo Collodi’s classic 1883 novel. As a child,
Cattelan saw the movie before reading the novel. He was
struck by one scene in particular: that of the puppet floating
in water, having apparently drowned. Invited to participate in a
group show at the Solomon R. Guggenheim Museum in New
Yo rk i n 2 0 0 8 , h e i n s t a l le d the work i n t he s mall p o o l at t he b ase
of the museum’s rotunda. “Daddy, Daddy” is what Pinocchio
yells when he finally finds his father Geppetto, but the words
also reflect the artist’s conflicted feelings towards his own
father. When Cattelan was a child, his father, a truck driver, was
always away from home due to work. The piece speaks to the
artist’s search for his missing father figure, a symbol of safety
and stability that was lacking from his early childhood.
Unititled
In 1999, Cattelan’s art dealer Massimo De Carlo invited
him to stage an exhibition at his Milan gallery. The artist
proposed to tape De Carlo to the wall, to which the gallerist
bravely consented. At the opening, guests admired the
gentleman stuck to the wall with duct tape as a living
sculpture. With this work, reproduced here as a mural,
Cattelan pokes fun at performance art, Renaissance
iconography, and the gallery system, in which the dealer is a
revered figure who courts collectors and museum directors,
yet is kept separate from the making of art, and is certainly
not considered a work of art themselves. Duct tape would
make another, unexpectedly successful appearance many
years later in Comedian (2019), which also appears in this
show. However, Untitled differs in tone from this humorous
piece, dramatically inverting stereotypes of the gallery-
artist relationship to present the dealer as a victim.
1999
·
·
·
·
2019
Nothing
1989
Nothing, shown here in two diff erent editions, is one of the
artist’s most recent works. Cattelan combines a symbol
of aristocracy—the Rococo mirror—with his signature
pigeons. Respecting neither social class nor luxury, the
taxidermied birds rest on top of the elaborate gilded
frame. To them, even the most valuable of artifacts mean
“nothing.” The viewer can look at his or her reflection inside
the mirror, surrounded by the pigeons. For Cattelan, the
pigeons are intruders, like peasants invading the palaces
of nobles. The piece brings to mind the magic mirror in
the fairy tale “Snow White” as well as one of the artist’s
first pieces, Lessico Familiare (1989), a silver-framed self-
portrait. While the earlier work parodied how middle-class
families stifle independence, Nothing and its ever-changing
reflections seem to both point to the emptiness of luxury
and demonstrate the mutability of identity.
Bonami:
Is your work supposed to be funny?
Cattelan:
Not at all but for some reason people
think it is…
I find it quite tragic.
1999
·
Untitled, 1999, photograph by Armin Linke, courtesy the artist.
“
”
Cattelan:
Fame is a strange
beast. And as with
all beasts, you are
the prey, not the
predator.
“
”
2008
45.4 × 104.5 × 94.3 cm
·
Daddy, Daddy, 2008, polyurethane resin, steel, epoxy paint, 45.4 × 104.5 × 94.3 cm. Photograph by Zeno Zotti, courtesy the artist.
2021
24k
245 × 190 × 40
cm
·
Nothing, 2021, wooden frame, nine taxidermied pigeons, 24-karat gold-
plated stainless steel, 245 × 190 × 40 cm. Photograph by Zeno Zotti,
courtesy the artist.
·
·
·
All quotes excerpted from Francesco Bonami and Maurizio Cattelan
’
s
conversation in the exhibition catalogue
Maurizio Cattelan: The Last Judgment.
*
·
Wish You Were Here
Wish You Were Here
2019
2019
·
Installation view of Untitled, 2019, “Victory is Not an Option,” Blenheim Palace,
Woodstock, UK, 2019. Photograph by Tom Lindboe, courtesy the artist.
Untitled
This work was inspired by Continuous Profile (1933), a
famous sculpture by Italian Futurist artist Renato Giuseppe
Bertelli, which depicts the profile of Italian fascist dictator
Benito Mussolini in a 360-degree rotation. In Cattelan’s gold-
plated sculptural self-portrait, a boot bursts out of a head
with vague features, its humorous incongruity undercutting
the sense of power and grandeur that Bertelli’s work
attempts to project. The boot becomes part of a mask, and
the mask serves a kind of monument that is more abstract
than figurative. The use of gold as a material is a reference
to ancient Egyptian death masks. As one of Cattelan’s
many works related to death, the piece explores the
impermanence of life, power, and wealth.
·
·
1933
·
360
Comedian
2019
1917
1999
This work subverted the entire art world when it was
presented for the first time at the art fair Art Basel Miami
Beach in 2019. It may be seen as a contemporary analogue
of Duchamp’s famous urinal, Fountain (1917). Cattelan’s wish
was to question our age of excess as well as the continued
predominance of paintings in exhibition halls and the art
market. To the surprise of the artist himself, the banana
became a viral phenomenon that spread all around the
globe, far beyond the boundaries of the art world. Though
merely an irreverent gesture at first glance, the piece’s use
of tape and a suspended object recall several of Cattelan’s
earlier works, such as the untitled piece from 1999 in which
he taped his gallerist to a wall.
2019
·
Comedian, 2019, banana, duct tape dimensions variable. Photograph by Zeno
Zotti, courtesy the artist.
One of the artist’s most recent works, Breath recalls figures
found in the archaeological excavation of Pompeii and
Herculaneum. The two ancient cities were destroyed by an
eruption of Mount Vesuvius near Naples in southern Italy.
Caught by surprise, the inhabitants died in their sleep or
while trying to escape. A self-portrait in marble acts as a
sort of funerary monument, while the dog next to the figure
is a symbol of fidelity in the face of death, almost like a denial
of mortality. Here, Cattelan also references one of the most
beautiful funerary sculptures of the Italian Renaissance, the
tomb of Ilaria del Carretto in Lucca Cathedral, created by
the sculptor Jacopo della Quercia circa 1406.
Breath
2021
HangarBicocca
2021
·
·
HangarBicocca
Installation view of Breath, 2021, “Breath Ghosts Blind,” Pirelli HangarBicocca,
Milan, 2021. Photograph by Zeno Zotti, courtesy the artist, Marian Goodman
Gallery, and Pirelli HangarBicocca, Milan.
Untitled
1997
If cartoons are to be believed, a good dog always brings the
newspaper to its master. Even in real life, there have been
instances when a dog has remained faithful to its master
after the human had passed away, until the animal's own
death. This work is about devotion and duty—all that is left
of the dog is its skeleton, but its jaws still expectantly hold
a newspaper. Even when death is approaching, we must
perform our duties and remain devoted. Like other works by
the artist featuring animal skeletons—such as Love Lasts
Forever (1997), a re-telling of a Brothers Grimm fairytale—
this piece speaks to the artist’s belief in the power of love and
faith, while juxtaposing cuteness with a darker, macabre tone.
1997
45
70
30 cm
·
Untitled, 1997, dog skeleton, newspaper, 45 × 70 × 30 cm. Photograph by Attilio
Maranzano, courtesy the artist.
Cattelan:
Comedian is
exactly like
an apple for
Cézanne: the
minimum
common
denominator
that everybody
recognizes. But
you need to alter
its condition.
Cézanne does
it with brush
strokes, I do it with
gaffer tape.
“
”
·
1991
Maurizio Cattelan first showed Stadium at the Galleria
comunale d’arte moderna, Bologna in 1991. The sculpture
is an elongated foosball table, which fits eleven players on
each side—the same as a regulation football team. For
the work’s debut, the artist arranged for a team of African
immigrants to play against a team of white Italians. It was
a way to address a pressing issue in Italian society—
a rising tide of racism in response to the country’s influx
of immigrants. Rather than present a reductive political
posture, Cattelan as usual approached the issue in a
playful and positive way, transforming what some saw as
a problem into a game. Today, the work is free of these
specific connotations and is simply an interactive sculpture.
The public may use it, provided that—as per the artist’s
request—there are eleven players on each team.
Stadium
1991
1
6.51
1.2 m
Stadium, 1991, wood, acrylic, steel, paper, plastic, 1 × 6.51 × 1.2 m. Courtesy the artist.
ucca.org.cn
2022.7.9 – 2022.10.16
Maurizio Cattelan: Wish You Were Here
·
·
·
·
1406
·
Sea World Culture and Arts Center
SWCAC
V&A
SWCAC
2017
12
SWCAC
2019
2018
2021
48
200
·
·
·
Located in Shekou, Shenzhen, the Sea World Culture and Arts Center (SWCAC) is a hub for culture and
commerce launched by China Merchants Shekou, with London’s Victoria and Albert Museum (V&A) as its
founding partner. SWCAC is committed to creating diverse cultural experiences for the public through a variety
of hybrid formats such as exhibitions, performing arts, public education, and commerce. As the only building
designed by Pritzker Prize-winning architect Fumihiko Maki in China to date, SWCAC embraces the horizons of
the sea, mountains, and city that surround it.
Opened in December 2017, SWCAC has become a key cultural landmark in the Guangdong-Hong Kong-Macau
Greater Bay Area. It was listed as Top Gallery in Shenzhen by Lonely Planet in 2019 and one of the World’s 100
Greatest Places by Time magazine in 2018.
In 2021, SWCAC held 48 exhibitions and nearly 200 educational events, including “Leandro Erlich: The Confines of
the Great Void,” “The Mythical Animals in the Forbidden City,” “Gaetano Pesce: Nobody’s Perfect,” and “Fashioned
from Nature,” attracting over one million visitors.
1187
SWCAC
No. 1187 Wanghai Lu, Shekou, Nanshan District, Shenzhen
www.swcac.com
+86 (0755) 2667 1187
Monday 14:00-22:00
Tuesday to Sunday 10:00-22:00
30
Last admission: 30 minutes prior to closing.
Entrance
·
Maurizio Cattelan: Wish You Were Here
2022.7.9 – 2022.10.16
Exit
Scan the QR code to listen to the
complete audio guide
@
Breath
2021
40
78
131 cm
30
65
40 cm
Carrara marble
Human figure: 40
78
131 cm;
dog: 30
65
40 cm
Comedian
2019
Banana, duct tape
Dimensions variable
Untitled
2019
24k
24-karat gold-plated bronze
49
40.5
18 cm
Untitled
2008
Boots, plants, soil
Dimensions variable
Lessico Familiare
1989
Black and white photograph
and silver frame
19.7
15.2 cm
Nothing
2021
24k
Wooden frame, five taxidermied
pigeons, 24-karat gold-plated
stainless steel
204
120
35 cm
Nothing
2021
24k
Wooden frame, five
taxidermied pigeons, 24-karat
gold-plated stainless steel
245
190
40 cm
Mini-Me
1999
Resin, rubber, synthetic hair,
paint, clothing
45
20
23 cm
Catttelan
1994
Neon
Dimensions variable
Untitled
1997
Dog skeleton, newspaper
45
70
30 cm
Dynamo Secession
1997
Porcelain, LED light bulb
17.8
12.7
9.5 cm
Untitled
2019
24k
Epoxy resin, 24-karat gold-
plated aluminum
40.7
15.5
16 cm
Zhang San
2021
Clothing, blanket, boots, trolley bag
Dimensions variable
Father
2021
Mural
Dimensions variable
Mother
2021
Mural
Dimensions variable
Untitled
2022
Mural
Dimensions variable
!
Yes!
2019
LED
Porcelain, LED light bulb
17.8
12.7
9.5 cm
Himmwood
2022
Printed wallpaper
4.5
9.62 m
Kids
2021
Taxidermied pigeons
Dimensions variable
Hanging in There
2022
Prints on fabric, steel cables
Dimensions variable
Spermini
1997
15
8.5
10 cm
Painted platinum silicone
Total dimensions variable; 15
8.5
10 cm each
Stadium
1991
Wood, acrylic, steel, paper, plastic
1
6.51
1.2 m
Daddy, Daddy
2008
Polyurethane resin, steel, epoxy paint
45.4
104.5
94.3 cm
Ciao
Ciao
2022
T
Performance, polyester resin, paint, T-shirt, jeans, sandals
Dimensions variable
SWCAC
To obtain an exclusive exhibition-themed
e-postcard, follow SWCAC’s offical
WeChat Account
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.
About the Artist
UCCA
UCCA
UCCA
UCCA
798
1957
2019
OMA
UCCA
OPEN
UCCA Edge
SO – IL
2021
5
UCCA
2007
2017
UCCA
UCCA
UCCA
2018
UCCA
UCCA
UCCA
UCCA Lab
UCCA
UCCA Center for Contemporary Art is China’s leading contemporary
art institution. Committed to bringing the best in art to a wider audience,
UCCA presents a wide range of exhibitions, public programs, and
research initiatives to a public of more than one million visitors each
year across three locations. UCCA Beijing sits at the heart of the 798 Art
District, occupying 10,000 square meters of factory chambers built in
1957 and regenerated in 2019 by OMA. UCCA Dune, designed by Open
Architecture, lies beneath the sand in the seaside enclave of Aranya in
Beidaihe. UCCA Edge, designed by New York-based architecture firm
SO – IL, opened in Shanghai in May 2021.
UCCA was founded in 2007 by Guy and Myriam Ullens as the Ullens
Center for Contemporary Art. In 2017, it evolved into the UCCA Group,
under the ownership and stewardship of a new group of patrons and
shareholders. Formally accredited as a museum by the Beijing Cultural
Bureau in 2018, UCCA also operates non-profit foundations, licensed
by the Beijing Bureau of Civil Affairs and the Hong Kong government.
UCCA’s commercial ventures include the children’s education initiative
UCCA Kids, the retail platform UCCA Store, and collaborations and
projects under the rubric UCCA Lab. UCCA works to bring China into
global dialogue through contemporary art.
UCCA
Courtesy UCCA Center for Contemporary Art, photograph by Sun Shi.
UCCA
4
798
UCCA Center for Contemporary Art
798 Art District, No. 4 Jiuxianqiao Lu, Chaoyang District, Beijing
UCCA
UCCA Dune
Aranya Gold Coast, Beidaihe
UCCA Edge
88
2
2F, No. 88 Xizang Bei Lu, Jing
’
an District, Shanghai
2022.7.9 – 2022.10.16
Maurizio Cattelan: Wish You Were Here
Ciao
1998
“Ciao” is the most common greeting in Italy, meaning both hello and goodbye. This
work reimagines a 1998 performance Cattelan staged at the Museum of Modern Art
in New York, in which an actor in a Picasso mask and costume welcomed visitors to
the museum, like a mascot performer at Disney World. By swapping Mickey Mouse
for Picasso, the artist implies that art sometimes risks becoming pure entertainment.
However, this time, the mask depicts Cattelan himself. While still critiquing the
commercialization of the art world by using the artist’s image, Ciao also explores his
own role and responsibilities as a global representative of Italian culture.
Ciao
Performance Schedule
UCCA
To obtain an exclusive exhibition-themed wallpaper
for your phone, follow UCCA’s official WeChat
Account and send the words
“Are You Here?”
ucca.org.cn
2022
10.1 10.2 10.3 10.4 10.5 10.6 10.7 10.15
9.3 9.4 9.10 9.11 9.12 9.17 9.24 9.25
7.9 7.10 7.15 7.16 7.17 7.22 7.23 7.24 7.29 7.30 7.31
8.5 8.6 8.7 8.12 8.13 8.14 8.19 8.20 8.21 8.26 8.27 8.28
Weekends and
Selected Public Holidays
13:00-17:00
18:00-22:00
·
1960
80
1993
Aperto
·
La Nona Ora
1999
2010
L.O.V.E.
·
TOILETPAPER
2011
54
2016
9
18K
2018
2019
2019
12
2021
HangarBicocca
20
9 · 11
UCCA
UCCA Center for Contemporary Art
2022
UCCA
·
UCCA
29
UCCA
·
·
26 Studio
SWCAC
Earlier this year, UCCA published a unique catalogue celebrating Maurizio Cattelan’s
first-ever solo exhibition in China: “The Last Judgment,” held at UCCA Beijing.
The publication provides readers with an in-depth contextualization of Cattelan’s
art, and—as many of the works featured in the Beijing exhibition reappear in
Shenzhen—also offers a perfect memento for “Wish You Were Here.” Cattelan
proposed an unconventional approach for the catalogue, one benefiting his
idiosyncratic artistic practice: no photographs of the exhibition’s artworks appear
in the book. Instead, each work is represented by an original painting by illustrator
Wang Buke. These illustrations relocate the artworks to locations around Beijing—
some iconic, some mundane. The catalogue contains a foreword by UCCA Director
Philip Tinari, a conversation between the artist and exhibition curator Francesco
Bonami, and an essay by Central Academy of Fine Arts associate professor Zhang
Chen, as well as extensive annotations on each exhibited artwork. Maurizio Cattelan:
The Last Judgment is published by Zhejiang Photographic Press, and book design
is provided by 26 Studio (Yang Shaozhun and Leng Jing). Purchase your copy at
SWCAC or online at Paragon Book Gallery’s WeChat Store.
Exhibition Catalogue
·
Catalogue Available Now
1991
·
2022
Stadium
22
·
66
3
Maurizio Cattelan’s Stadium was exhibited for the first time
at the Galleria comunale d’arte moderna, Bologna in 1991.
On the occasion of the work’s debut, the artist organized
a foosball game between a team of African immigrants
and a team of white Italians, using his irreverent sense of
humor to transform social issues associated with migration
into a game. Today, the piece’s political connotations have
lessened, and it may be seen as a site-specific interactive
sculpture, which visitors are welcome to play on. In addition
to retaining a sense of collective play from its original
incarnation, the 22-player foosball table—the first in the
world—also connects with its local context, resonating with
the complex nature of personal relationships in Shenzhen,
a dynamic, rapidly developing city.
Throughout the exhibition period of “Maurizio Cattelan:
Wish You Were Here,” we are inviting 66 art lovers to
participate in 3 foosball games, reinterpreting this classic
art project. In the heat of the game, participants will get
to experience firsthand the work’s approach towards
contemporary social relations.
11-a-side Foosball
Tournament
UCCA
2021
“Pranking Cattelan” Beijing performance, UCCA Center for Contemporary Art, 2021. Photograph courtesy Beijing Dance/LDTX.
Public Program Calendar
47
12
1991
·
Cesena 47 - A.C. Forniture Sud 12, 1991, black and white photograph of performance, Galleria comunale
d’arte moderna, Bologna, 1991. Courtesy Maurizio Cattelan Archive.
*
UCCA
* Program titles and dates are subject to change. Please follow UCCA and SWCAC
’
s official
social media platforms for the latest announcements and program details.
2022.7.15
Conversations: Running Away
from Nothing
Cinema Arts:
Past Present Future
Art Healing: Meeting Your Inner Child
2022.7.23
2022.8.6
22
11-a-side Open Foosball Tournament
Performance Arts: Couples Dance
2022.8.20
Workshop: Contact Improvisation
2022.8.21
Performance Arts: Comedian
2022.9.10
2022.9.17
22
11-a-side Interscholastic
Foosball Tournament
Dramatic Interpretation: A
Thousand Faces
2022.9.24
Costume Party: After Midnight
2022.10.1
Conversations: More than Fairy Tales
2022.10.3
22
11-a-side Parent-Child Foosball Tournament
2022.10.4 – 10.5
Workshop: Geppetto’s Story
2022.10.6
Art Healing: Parent-Child Mandalas
·
3
2
1
8
10
22
SWCAC
·
A series of public programs will be held in conjunction with “Maurizio
Cattelan: Wish You Were Here,” focusing on the artist’s practice and
its connection with personal relationships. These programs aim to
deepen the audience’s understanding of Cattelan’s work, providing
varied perspectives through a regular series of events organized
in collaboration with partners from different disciplines. Over the
three-month exhibition period, UCCA has prepared two academic
panels, a film event, an eleven-a-side foosball tournament, and a
number of workshops. A special collaborative comedy project will
also be unveiled at SWCAC during the exhibition. We hope that these
diverse, multidisciplinary programs can help create a fun and relaxed
atmosphere for visitors to learn more about how Cattelan satirizes
the art world, as well as how we form relationships with others.
Public Programs
·
225
285 mm
137
Publication Title:
Maurizio Cattelan: The Last Judgment
Language: Chinese and English
Size: 225
285 mm
Format: Hardcover, 137 pages
Scan to purchase
exhibition catalogue
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UCCA Kids
On the occasion of the exhibition, UCCA Kids has
designed a series of educational workshops based on
Maurizio Cattelan’s art, taking kids on a journey through
the artist’s mind and creative vision. Participants in these
children’s education activities will learn how the artist digs into
human experience, creates new narratives out of familiar objects,
and questions ideas of reality and originality through his hyperrealistic
sculptures and installations. Please stay posted for further details and
updates on our educational programs.
Exhibition Guide for Kids
2022.7.9 – 2022.10.16
UCCA Kids
UCCA
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Designed just for kids, this exhibition guide was created by UCCA Kids and UCCA Foundation to engage
our young visitors in a more in-depth experience of “Maurizio Cattelan: Wish You Were Here.” Using child-
friendly language, the guidebook leads kids on a journey that follows the audience’s path through the
exhibition, providing introductions to each section and descriptions of the key artworks in each. It also
includes a small section of accessible and interactive fun activities. UCCA aims to bring kids and families
new ways of seeing and interacting with the exhibition, with educational touchpoints at different levels
that deepen understanding of the artist’s work, inspiring kids in the learning environment of the museum .
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“Maurizio Cattelan: The Last Judgment” workshop series.
UCCA
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UCCA
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UCCA
UCCA
UCCA Store’s exclusive exhibition merchandise collection
is now available! Inspired by some of Maurizio Cattelan’s
most well-known, classic works, this collection includes
t-shirts, bags, refrigerator magnets, and pins, reimagining
the artistic achievements and charm of the Italian master
artist in a rich variety of dimensions. For every canvas
bag purchased, UCCA store will donate RMB 1 to UCCA
Foundation’s Opening the Door to Art philanthropic
initiative, raising awareness for public welfare projects.
Toget her, we can help make th e drea m s of th e next
generation of artists come true. Visit UCCA’s official Tmall
store or Art Store at SWCAC during the exhibition period to
shop for a wide range of UCCA merchandise.
Art Store
Inflatable Banana Poster
Boots and Plants Fridge Magnets
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2019
The “Comedian” collection of posters, t-shirts, bags, pins,
and refrigerator magnets is inspired by Maurizio Cattelan’s
famous work Comedian (2019)—an installation of a banana
taped on the wall. Transported from the wall to be put in any
situation, the artwork reappears here in different forms such
as clothing and bags, enriching its expression and meaning.
“Comedian” Collection
Banana Tote
Pour seeds into the boot
1
Add appropriate amount of soil
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3-5
Water, and wait 3 to 5 days
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The plant appears
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ucca.org.cn
Kids
’
Educational Activities
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2001
Do you
love me
On the occasion of “Maurizio Cattelan: Wish You Were
Here,” UCCA presents the limited-edition “Do You Love
Me?” series of merchandise, featuring t-shirts, baseball
caps, and pins, all inspired by his work Untitled (2001), in
which a miniature version of the artist emerges from a hole
in the ground. Here, the space in which the artist appears
has been ingeniously transformed into the shape of heart.
He peeks out and asks, “Do you love me?” Besides offering
up a charming declaration of love, this humorous romantic
scene leads us imagine a continuation of the exhibition title
“Wish You Were Here”—as if asking, if you were here, would
you love me?
Cattelan phone grip
4.
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Artwork from “Maurizio Cattelan: The Last Judgment” workshop series. Artist: Xiaoyu.
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Artwork from “Maurizio Cattelan: The Last Judgment” workshop series. Artist: Chenchen.
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Artwork from “Maurizio Cattelan: The Last Judgment” workshop series. Artist: Nuonuo.
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Artwork from “Maurizio Cattelan: The Last Judgment” workshop series. Artist: Dudu.
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“Do You Love Me?” Collection
