OR IGINAL COPY

Im­i­ta­tion is the sin­cer­est form of flat­tery at Mau­r­izio Cat­te­lan and Gucci’s bound­ary­blur­ring ex­hi­bi­tion, “The Artist is Present”. By Dana Koh

Harper's Bazaar (Singapore) - - THE - Harper’s BAZAAR AZAAR

Wait a minute. Haven’t we al­ready seen “The Artist is Present”, an ex­hi­bi­tion that gained wide­spread ac­claim un­der the hands of per­for­mance artist Ma­rina Abramovic? That was the ques­tion run­ning through the heads of fash­ion and art cognoscenti alike, upon re­ceiv­ing news of an art col­lab­o­ra­tion of the same name—this time, be­tween satir­i­cal artist, Mau­r­izio Cat­te­lan and Gucci’s Alessan­dro Michele.

Like its ti­tle, the en­tire ex­hi­bi­tion is an in­ten­tional act of ap­pro­pri­a­tion, ad­dress­ing how orig­i­nal­ity can be achieved through the art of repli­ca­tion or rep­e­ti­tion, and how orig­i­nals can be pre­served, and some­times even re­vived, through copies.Art­works by over 30 artists walk, blur and cross the lines be­tween au­then­tic­ity and im­i­ta­tion, all in an at­tempt to ex­plore the age of unapolo­getic copy­ing that hat we live in, ques­tion­ing the most hal­lowed prin­ci­ples of art to­day.“Copy­ing ying is like a blas­phemy: It could seem not re­spect­ful to­wards God, but at t the same time is the sig­ni­fica­tive recog­ni­tion of its ex­is­tence,” said Cat­te­lan, telan, who repli­cated the Sis­tine Chapel in 1:6 scale, mak­ing Michelan­gelo’s master­piece sud­denly ul­tra-ac­ces­si­ble and seen in Shang­hai. Sacri­le­gious? ? Ar­guably so, but it is also ge­nius in the way this res­ur­rects the re­la­tion­ship be­tween art and au­di­ence, al­beit through warped and won­drous ways.And And isn’t that the crux of what art is—to be seen and to in­spire? speaks to the con­cep­tual cu­ra­tor about “The Artist is Present”, , on till 16 De­cem­ber at the Yuz Mu­seum in Shang­hai.

We come from very di­verse back­grounds and modes of cre­ation. tion. I find fash­ion fas­ci­nat­ing for its dou­ble na­ture. On the one hand, it’s a re­ally ad­vanced in­dus­trial and eco­nomic sys­tem, in­volv­ing so many peo­ple in the pro­duc­tion chain; on the other, it seems to be de­pend­ing on one head only, which is the cre­ative di­rec­tor’s head: She/he has to make rapid and in­stinc­tual choices, on which all those peo­ple rely on. I work in a com­pletely dif­fer­ent way; I pre­fer not to be bound to any­one that counts on my in­spi­ra­tion to make a liv­ing, that’s why I al­ways avoided hav­ing a stu­dio.We’re both fas­ci­nated by the over­lap be­tween these two dif­fer­ent meth­ods of be­ing cre­ative, and if it’s true that opposites at­tract; I prom­ise our col­lab­o­ra­tion is work­ing!

Clock­wise from left: Artist and cu­ra­tor of “The Artist is Present”, Mau­r­izio Cat­te­lan.Un­ti­tled by Mau­r­izio Cat­te­lan. Carina Lau and Alessan­dro Michele. Eter­nity by Xu Zhen. A Gucci Sylvie bag made of LEGO bricks by Andy Hung Chi-Kin. pink-blue by Kap­wani Ki­wanga. Liu Wen with a replica of the Hol­ly­wood sign. One of the rooms with (clock­wise from top) Speech Bub­bles by Philippe Par­reno; Mol­lusk by Reena Spaul­ings; OVER AND OVER. OVER AND OVER. AND OVER AND OVER. AND OVER AND OVER. by Lawrence Weiner; andUn­ti­tled by Jose Dávila. The cat­a­logue in the form of a broad­sheet, calledThe New Work Times

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