|Various materials and dimensions|
Maurizio Cattelan, known for satirical sculptures that often deal with life and death, presents Eternity, a collective project made possible by the participation of hundreds of members of the Argentine public, who were invited to contribute through an open call. Art students and artists were asked to create pan-religious tombstones for people who are still living, be they friends, lovers, heroes, or fictional characters. The artist has long been fascinated by cemeteries, and the tombstones occupy an area within Palermo Park to create an uncanny landscape – at once commemorative and ironic – that subverts tradition, hierarchies, the passage of time, and death. Eternity not only questions why we commemorate the dead as we do, but also gives credence to the superstition that representing a death could prolong the life of the living. Taken together, the tombstones are a funny and poignant exorcism of potential grief.
The winners of the Eternity project competition in three categories are below.
Originality (the most original/ambitious tombstone)
1. Elena Donato (in collaboration with Teresa Chiurazzi, Luz Crescini, Luis Díaz, Valentín Díaz, Camila Jalil, Daniela Schnayman y María Paz Millan), Sensación (tiempo muerto)
2. Julieta Nieves, @julifrutal
3. Ivana Boullón, Debora Dora de Chatarra
Execution (the most sophisticated execution of a tombstone)
1. Azul Klix, Rocket Man
2. Luna Paiva, Sin esperanza sin temor
3. Fabián Berci, Tanto Frio
Form and Composition (the most effective formal composition of text and material)
1. Andrés Paredes, Menhir efímero y mortuorio
2. Gustavo Bemerguy, ALA RIP
3. Gisela Arevalos Bustamante, Esponja
Members of the jury:
Catalina León, Writer and Artist
András Szántó, Global Strategy Advisor for Art Basel Cities
Juan Pablo Vacas, General Director of Heritage, Museums and Historic Center of GCBA
Download the map layout of Eternity here.
Coordinator: Agustina Nin
Production: Beto Álvarez, Dana Ferrari, Clara Campagnola, Emiliano Miliyo
The artist wishes to thank all the artists who submitted a proposal and participated in the project. This artwork has been realized with assistance from the Ministry of Ambient and Public Space of the City of Buenos Aires, and from the Instituto Italiano de Cultura de Buenos Aires. We appreciate the support of Sol Ganin, Carlos Huffmann, María Paz Segura, Silvana Ovsejevich, Julian Delgado, Diego Romero Mascaró, Lina Angel, Cecilia Cardozo, Delfina Helguera, Florencia Cambón, and especially Donatella Cannova and Dora Pentimalli on this project. Special thanks to Francesco Bonami for his inspiring role.
|Born 1960 in Padua, Italy|
|Lives and works in New York, USA, and Milan, Italy|
Taking aim at both art and institutions, Maurizio Cattelan is one of the most popular – as well as controversial – international contemporary artists working today. Hailing from working class background from northeast Italy, where he was a poor student and rebellious child, Cattelan received no formal art training but instead worked a series of odd jobs (including in a hospital morgue) that would later inform his practice. In 2011, he provoked debate with an installation of 2,000 stuffed pigeons presented at the 54th Biennale di Venezia; later that year he announced his retirement. Recent solo exhibitions include the Menil Collection, Houston (2010); ‘WE’ at the Deste Foundation Project Space, Hydra (2010); ‘All’ at the Solomon R. Guggenheim Museum, New York (2011); ‘Amen’ at the Ujazdowski Castle Centre for Contemporary Art, Warsaw (2012);‘Kaputt’ at the Fondation Beyeler, Basel (2013); and ‘Not Afraid of LOVE’ at La Monnaie de Paris (2016). Long-term installations include L.O.V.E., in the Piazza Affari, Milan (since 2010), a monolithic sculpture of a hand sticking its middle finger out.
The artist is represented by Marian Goodman Gallery, New York, Paris, and London; Massimo De Carlo, Milan, London, and Hong Kong; and Perrotin, New York, Paris, Hong Kong, Seoul, Shanghai, and Tokyo.