I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.

I produce so little that the
I produce so little that the
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
I produce so little that the
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
I produce so little that the
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
I produce so little that the
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
I produce so little that the
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
I produce so little that the
I produce so little that the
I produce so little that the
I produce so little that the
I produce so little that the
I produce so little that the

Maurizio Cattelan’s quote highlights the economic and communicative significance of editioning in the art world. He explains that by creating limited editions of his works, he ensures that they are not only financially viable but also accessible to a wider audience. Since he produces art in small quantities, editioning allows his works to be distributed and collected, ensuring their survival in a competitive art market. This process allows the value and impact of his creations to extend beyond the few initial pieces he creates.

Cattelan also connects editioning to the idea of communication within the art world. He suggests that the more editions available, the more people can experience and engage with his art. In other words, having multiple copies of a work allows a broader audience to connect with it, generating more discussion and increasing the work’s visibility. The notion of communication here goes beyond the artwork itself, touching on how it spreads and sparks conversation in the public sphere.

The artist’s reflection on the relationship between limited production and wide distribution also points to the role of exclusivity in the art market. By making fewer works available, Cattelan not only ensures their rarity but also encourages more attention and engagement. The limited nature of these pieces creates a sense of scarcity, driving up interest and the potential for people to discuss and share his work.

In essence, Cattelan’s quote underscores the dual importance of artistic production and communication. Through careful editioning, he navigates both the practical aspect of surviving as an artist and the conceptual element of ensuring that his work can spark broader discussions and connections. This strategy helps maintain the relevance of his art, ensuring that its impact is not limited to just a few individuals but extends to a wider community.

Maurizio Cattelan
Maurizio Cattelan

Italian - Artist Born: September 21, 1960

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