The sculptor of the opera of Cattelan chiede a laughter of 5 million

Daniel Druet has denounced Maurizio Cattelan, the gallery owner Emmanuel Perrotin and the Monnaie de Paris asking for a laugh of another 5 million dollars. An emblematic case that puts the question, anchors a turn, its paternità dell’opera nell’arte contemporea

Maurizio Cattelan, Him, 2001. Photo courtesy Christie’s Images Ltd.

Maurizio Cattelanthe Italian artist più noto e controverso, autore di opere come SEES IT., America, Comedian and You (poi rinominate il dito di Cattelan, la banana di Cattelan e così via) sarà trascinato in tribunale da Daniel Druet, the French sculptor who has made the new statue that composed his installation. the reason? Duet not accetta più che il suo nome de l’ompaia tra crediti e cataloghi ed è è deciso to grant a 5.25 million dollar income to the artist, to his gallerist Emmanuel Perrotin e alla Monnaie de Paris, spazio museale in which yes It was shown in 2016 Not afraid of Love.

MAURIZIO CATTELAN DENOUNCED BY DANIEL DRUET

Che si celasse the hand of the talented Dietro Druet alle opere di Cattelan was a fatto conosciuto ai più. The loro “storia” began at the end of Novanta’s year, when the Italian artist went to the Musée Grévin and left behind the fattezze of the wax statue, both from the author’s flesh and from the commissionargli alcune opere. tra queste, The Ninth Pray (1999), which showed Pope Giovanni Paolo II colpito e terrato da un meteorite e Him (2001), who portrayed Hitler in a childlike body, battered until 2016 for more than 17 million euros. Lavori che hanno aroused outcry and indignation at the time, contributing ad accrescere the fame of Cattelan. Druet, invece, is paid in half 33 thousand euros to the statue and his name is not properly emerging after his parent, as he has contacted Le Monde, to which he has confidato that also the indications for the realizzazione dell’opera were not scarse and imprecise. “Inviava [Maurizio Cattelan, ndr] a fax di righe oppure dei collaboratori italiani, che parlavano a malapena il francese e mi davano qualche istruzione”, has been reported by the French daily. “It was tutto piuttosto vago e spettava a me gestirlo”.

Maurizio Cattelan, La Nona Ora, 1999 - photo Attilio Maranzano
Maurizio Cattelan, La Nona Ora, 1999 – photo Attilio Maranzano

CHI È DANIEL DRUET, SCULTORE DELLE OPERE DI MAURIZIO CATTELAN

Daniel Druet, born in 1941 in Parigi, is a classic sculptor specializing in wax effigy, as his custodian of the Musée Grévin. His work is known and appreciated soprattutto in France and it is hypothesized that he could denounce one of the artists on the international contemporary scene, not the result of a mere search for soldi and fame. Che Druet Avesse il dente avvelenato dalla questione dell’autorialità dell’opera non è cosa nuova: to demonstrate it is stata la realizzazione dell’opera CouCou, who sees in the center himself a Maurizio Cattelan raffigurato nell’atto di uscire dall’uovo with an innocent and ingenuous expression on his face. An open denunciation of a system considered unfair, in which chi comes considered an “artist” does not correspond to colui that materially creates the oggetto.

ARTISTS AND ESCECUTORS: A SECONDARY STORY OF ARTE

That the operation of art is not realized materially by the author to which I came to attribute is a peaceful fact. This is valid not only for contemporary art, but also for the history of art, in which botteghe and interest squadre eseguivano ordini impartiti dall’artista – pittore o scultore che fosse – both that attribuzionisti e storici si arrovellano ancora oggi su quale parte di un’opera possa appartenere alla “mano” del Maestro. Ogni opera d’art is, in the great magnitude of the almost, the fruit of an organic story that contains an insieme of management and intervention, that is the result of the present in the text of the final teaching post only to a job in the museum or in the gallery. Author gives a part and artigiano dall’altra, artist and executor, head or hand, non c’è più spazio per atteggiamenti manicheistici. Soprattutto dal Novecento in poi, when Marcel Duchamp has scardinato per semper il concetto di opera d’arte legata alla “creazione”, introducing the revolution of the ready made. Da lì in poi liberi tutti, tra objet trouvé, appropriazioni e opere participative. E quindi, l’art è di chi la pensa o di chi la fa? Il responso (in this case) we will open it on the 13th of May, when it will be examined by the specialized section in intellectual property of the court of Paris.

Giulia Ronchi



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The sculptor of the opera of Cattelan chiede a laughter of 5 million


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