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Ayoung Kim, Ghost Dancers B (detail), 2022, mannequins, clothes, helmets, gloves, tap case, reinforced case, tempered glass, dimensions variable.
Ayoung Kim, Ghost Dancers B (detail), 2022, mannequins, clothes, helmets, gloves, tap case, reinforced case, tempered glass, dimensions variable. Photo: Jacopo LaForgia.
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From the archive
NEW NOVEMBER HOMEPAGE
Summer 1995
Provocative conceptual artist Maurizio Cattelan has been named the winner of the 2026 Preis der Nationalgalerie. Known for his use of humor to question social structures and systems of power—perhaps most notoriously in works like Comedian, 2019, a banana duct-taped to a wall—Cattelan was unanimously selected for the honor, generally considered Germany’s premier award for contemporary artists, and will receive his first institutional solo exhibition in Germany at the Neue Nationalgalerie next fall. To mark the occasion, Artforum revisits the Summer 1995 Openings feature in which Olivier Zahm introduced Cattelan’s work to Artforum’s readers.
 
“Playing, feigning, faking, and artificiality are Cattelan’s accomplices. He equates social transgression with artistic transgression—a move well known since Marcel Duchamp wrote a bad check to pay his dentist,” writes Zahm. “Cattelan’s attack on the system from within is a sufficiently rare tour de force,” he continues: “he does not hesitate to leave himself exposed, even compromised.”
—The editors
Dossier
NEW NOVEMBER HOMEPAGE
“In this Artforum Dossier, we have gathered texts that focus on artistic practices that reflexively engage with the specific materiality of celluloid—the transparent plastic that served as the most common substrate for moving images before the advent of analog and digital video. These practices typically focus less on storytelling than on the aesthetic possibilities of directly manipulating celluloid film stock, creating sequences of celluloid film frames, or running celluloid film strips through projectors. The results usually emphasize our perceptual experience of light, color, sound, pattern, movement, and space—that is, those elements that provide the language of all moving-image experiences.”
Tina Rivers Ryan
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