isfar

Sometimes I don’t really understand the point of life because we all die and once we do, what was the whole point of living in the first place?

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“The Edge” • Isfar Sarabski #mood #prefect #iphoneonly #aztagram #azerbaijan #instamood #inspiration #baku @isfar #isfar #isfarsarabski

Maurizio Cattelan

Reference: Maurizio Cattelan, Love Saves Life, 1995

Reference: Maurizio Cattelan, Love Lasts forever, 1997

“stuffed rooster, cat, dog and donkey is based on the fairytale by the Brothers Grimm, ‘The Bremen Town Musicians”, in which the animals each escape an owner who was threatening to kill them because they were getting old and useless.”

“Clown, jester who entertains through calculated buffoonery” (…) Your self derision or exaggerated humility, whether ironic or not, aligns your project with a tradition of clowning which has a particular resonance in Italian culture”. 

“Comedians manipulate and make fun of reality, whereas I actually think that reality isfar more provocative than my art” (…) “I’m always borrowing pieces of everyday reality. If you think that my work is very provocative, It means that reality is extremely provocative, and we just don’t react to it” (…) Maybe we no longer pay attention to the way we live in the world. We are increasingly…how do you say? ‘don’t feel any pain?’…we are anaesthetized”. 

“Bloody Wops”

Reference: Maurizio Cattelan, Bidibidobidiboo, 1996

“I thought about magics words like ‘bibeddy bobbedy boo”, which COULD TRANSFORM SOMETHING, MAKE SOMETHING BETTER” 

“It represents an energy that you can’t utilize. It represent FROZEN ENERGY”

“Actually, we are stealing right now, here in your office. How? What we are stealing? Time”.
“Your work exist in the interstices between objects and actions. It enters the art institution only to disrupt it”

“Maybe I’m just saying that we are all corrupted in a way; life itself is corrupted, and that’s the way we like it.”

“This was an early project for me. At that time I really liked the idea of involving one hundred people, contacting each of them to raise funds. So I start to make a list of possible people who might help with this project. It was not so easy. You really have to have the balls to make such calls to private people. So I spent four to five hours a day on the phone, saying ‘Hi do you know me?’ I had to get their attention and then say,’Could you please give me $100 for this project?”
Reference: Maurizio Cattelan, Oblomov Foundation, 1992

Other Reference: Maurizio Cattelan, Tourist, 1997, Venice Biennale