Photo: David Parry / PA Wire
urban environment surrounding the Gallery, highlighting hidden nature within the
city. It also references the Whitechapel Gallery’s Arts and Crafts architecture
which features the Tree of Life motif on its façade. The installation is accompanied
by a year-long programme of talks and events exploring the rich relationship
between nature and the city.
Celant in 1967.”
Boetti refused to join the Arté Povera group and set up another grouping)
casting and the interior and exterior of the tree are deliberately reversed.
Reflecting Penone’s interest in how we relate to the natural world by touch,
the bronze exterior registers thousands of finger prints left by the foundry
workers who covered the original tree in wax as part of the casting process.
The inside of the sculpture is layered in gold leaf, creating a glowing contrast
to the dark patina which assimilates the appearance of tree bark. A second
sculpture Essere Fiume (Being River) (1998) also is on display and I could touch this work consisting of an original stone shaped by the flow of a river in Tuscany and a
sculpture of the stone, hand carved by Penone to mimic the original.”
Diameter 320 cm
Courtesy Collezione Sandretto Re Rebaudengo
Another small installation involved a small squirrel and Sarah described it as it was too small for me to make out. A large cubic metre bag of masonry rubble was on show and I could touch that. Another Cattelan piece is a set of clothes in a body shape hanging from a rack and there is a play on Catttelan with a sign in neon which I could just about make out. The letter t has been written 3 times in the shape of a cross.
international artists such as Doug Aitken, Jake & Dinos Chapman, Thomas
Demand, Damien Hirst, Paul McCarthy, Reinhard Mucha, Sarah Lucas, Paola
Pivi, Anish Kapoor and Mike Kelley. A series of four displays at the Whitechapel
Gallery over one year will show highlights from the collection and draw on
and authority. His memorable sculptures include Pope John Paul II struck
down by a meteorite, his staging an exhibition of a ‘back soon’ sign on the door
of an empty gallery or reporting a robbery of an ‘invisible exhibition’ to Italian
police. His work often blurs the line between art and reality to provoke reaction.
the fairy godmother’s song in Cindarella, it caricatures the idea of childhood
innocence. In another sculpture the emblem of the 1970s terrorist group
Brigate Rosse is turned into a neon Christmas greeting by Cattelan, while in Il
Bel Paese (1995) a cheese naming Italy as ‘a beautiful country’ becomes a rug
on which to walk. The idea of art potentially reforming society becomes the
butt of Cattelan’s joke, when he makes an effigy of himself dressed in iconic
artist Joseph Beuys trademark grey felt suit, hanging by the neck from a