Maurizio Cattelan (born 21 September 1960) is an Italian artist. He is known for his satirical sculptures, particularly La Nona Ora (1999) (The Ninth Hour, depicting Pope John Paul II struck down by a meteorite), Him (2001), and Love Lasts Forever (1997).
From 1996 to 2007, together with Dominique Gonzalez-Foerster and Paola Manfrin, Cattelan published 15 issues of Permanent Food: a magazine built by pages torn from other magazines.
In 2009, Cattelan teamed up with Italian photographer Pierpaolo Ferrari to create an editorial for W magazine’s Art Issue. In 2010, they founded the magazine Toiletpaper, a bi-annual, picture-based publication.As part of a public art series at the High Line in 2012, Toiletpaper was commissioned with a billboard at the corner of 10th Avenue and West 18th Street in New York, showing an image of a woman’s manicured and jeweled fingers, detached from their hands, emerging from a vibrant blue velvet background.In 2014, Cattelan and Ferrari produced a fashion spread for the Spring Fashion issue of New York Magazine.
In the project entitled 1968, A Toiletpaper collaboration between Maurizio Cattelan, Pierpaolo Ferrari and the Deste Foundation in Athens, Cattelan celebrates the works and time of Dakis Joannou and his collection of radical design. “1968 is a collection of dreams and nightmares, an inspiring compendium of colorful, ironic materials, objects, and bodies. Toiletpaper’s interpretation of the collection results in mind blowing photographs that trap us in a complex system of references, crossing layers, three dimensional and real time collages. 1968 is a rainbow, the memory of a storm and the positive projection of a newborn sun: the history plus the future, masterly shown in the drawings by one of the primary characters of the radical design movement, Alessandro Mendini, who adds a vital contribution to Toiletpaper’s visuals.”—P. of cover.
On opening night of the Maurizio Cattelan retrospective at the Guggenheim Museum of New York, a Hummer stretch limo with the words “TOILETPAPER” printed on the side was not-so-discreetly parked outside the museum. The images in the magazine might appear to have been appropriated from world’s most surreal stock-photograph service, but they’re all made from scratch. “Every issue starts with a theme, always something basic and general, like love or greed,” Cattelan has explained. “Then, as we start, we move like a painter on a canvas, layering and building up the issue. We always find ourselves in a place we didn’t expect to be. The best images are the result of improvisation”. Many images are rejected, he said, because they’re “not Toiletpaper enough”. What makes a Toiletpaper photo? “We keep homing in on what a Toiletpaper image is. Like distilling a perfume. It’s not about one particular style or time frame; what makes them Toiletpaper is a special twist. An uncanny ambiguity.” (Wikipedia)