Maurizio Cattelan

Galleria Massimo de Carlo, Milan
Acquired directly from the above by the present owner

Rome, Galleria Lidia Carrieri, Metessi, 1989
New York, Solomon R. Guggenheim Museum, Maurizio Cattelan: All, 2011-2, p. 187, no. 8, illustrated (exhibition copy on display)

Francesco Bonami, Nancy Spector and Barbara Vanderlinden, Maurizio Cattelan, Hong Kong 2000, p. 42, illustrated
Nancy Spector, Maurizio Cattelan: All, New York 2011, p. 187, illustrated

Colour: The colours in the catalogue illustration are fairly accurate. Condition: This work is in very good condition. Close inspection reveals a few hairline surface scratches in places and some very light surface dirt adhering to the plexiglass. There is some very light oxidisation to the brass slot, in keeping with the artist's choice of medium.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

“Angolo dei Ricordi, which can be translated as “memory corner”, is a simple Plexiglas vessel with a brass letterbox slot at the top, containing an assortment of postcards and letters. Due to the box’s transparency the contents are partially legible, but because the letters are impossible to retrieve once deposited, they are frustratingly inaccessible to the curious reader. This eccentric wedge-shaped structure, which was originally conceived for the corner of Cattelan’s apartment, was designed as a repository for correspondence sent to his girlfriend by her former lovers. The secure entrapment of these documents neutralized some of their potency, but they remained an indelible presence in the couple’s shared home, a poignant metaphor for the inevitable and at times oppressive traces of past experiences in a new relationship. In addition to its emotional resonance, Cattelan was interested in the work’s ability to activate the liminal space of the corner – a traditional site of marginalization and childhood punishment that has provided rich terrain for iconic Minimalist and Post-Minimalist sculptural inventions.” (Katherine Brinson in Exhibition Catalogue: New York, Solomon R. Guggenheim Museum, Maurizio Cattelan: All, 2011-12, pp. 186-187)