{"id":9544,"date":"2025-10-21T09:55:18","date_gmt":"2025-10-21T07:55:18","guid":{"rendered":"https:\/\/www.naturalstoneisbetter.com\/?p=9544"},"modified":"2025-10-21T09:56:21","modified_gmt":"2025-10-21T07:56:21","slug":"maurizio-cattelans-marble-challenges-its-own-tradition","status":"publish","type":"post","link":"https:\/\/www.naturalstoneisbetter.com\/en\/maurizio-cattelans-marble-challenges-its-own-tradition\/","title":{"rendered":"Maurizio Cattelan\u2019s Marble Challenges Its Own Tradition"},"content":{"rendered":"
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Awarded the\u00a0Marmomac Best Communicator Award 2025<\/i>, the artist celebrates \u2014 with irony \u2014 the symbolic power of Carrara marble.<\/strong><\/p>\n

Last September 26, Maurizio Cattelan sent his marble head to collect the Marmomac Best Communicator Award 2025. During the ceremony, a video was shown documenting the work of the robot on the artist\u2019s portrait, accompanied by Cattelan\u2019s audio commentary: \u201cI\u2019m sincerely flattered. Since I couldn\u2019t be there in person, I decided to send my head, sculpted by a robot. […] In the meantime, I\u2019ll take the credit.\u201d A gesture that perfectly encapsulates his sharp irony and his ever-ambiguous relationship with authorship.
\nThe work, made of Carrara marble through the use of advanced robotics, accepted the award granted to the artist for his use of the material in two sculptures from his exhibition\u00a0Seasons<\/i>, on view in Bergamo until October 26.<\/span><\/p>\n

\u201cThe artist\u2019s works,\u201d stated the jury, \u201crepresent not only a moment of reflection on the cyclicality of life and history, on the transformations of the individual and society, but are the result of an extraordinary synergy between artistic intuition and advanced robotic technology, capable of generating a strong communicative and symbolic impact.\u201d<\/p>\n

Marble thus returns to the center of the path of an artist who, starting with\u00a0All<\/i>\u00a0(2007) and later with the now-iconic middle finger in Milan\u2019s Piazza Affari,\u00a0L.O.V.E.<\/i>\u00a0(2010), had already chosen this material to engage with its millennia-old tradition \u2014 a thread that continues through the works\u00a0Bones<\/i>\u00a0and\u00a0November<\/i>, part of the Bergamo exhibition.<\/p>\n

In an interview with Silvia Nani for\u00a0Corriere della Sera<\/i>, the artist explained: \u201cMarble carries an enormous symbolic weight: the history of art, the idea of eternity, of monumentality. Using it meant confronting that tradition, but also bending it to a different narrative.\u201d<\/p>\n

The artist emphasizes that the material is never neutral but imposes its own time and resistance: \u201cYou can\u2019t command marble\u2019s time. […] The illusion is that of challenging the centuries. True strength arises when concept and matter contradict each other.\u201d Indeed, in his two recent works, the material itself is betrayed and reinvented: \u201cIn\u00a0Bones<\/i>, marble becomes a fragile body \u2014 a collapsed eagle that tells of the fall of power rather than its glory. In\u00a0November<\/i>, marble turns into water and into a paradoxical monument.\u201d Thus, Cattelan \u201cbetrays his own tradition. From a symbol of eternity and grandeur, it becomes a vehicle of irony, fragility, even vulgarity.\u201d<\/p>\n

Alongside Cattelan\u2019s award, a special mention was given to director and video artist Yuri Ancarani for\u00a0Il Capo<\/i>, a short film shot fifteen years ago in the Gemeg quarries and presented at the 67th Venice Film Festival \u2014 a work that helped cement in the collective imagination both the harshness and the poetry of quarry labor.<\/div>\n<\/div>
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