Contemporary artist Maurizio Cattelan has initiated a global treasure hunt titled 'Where is Maurizio?' The event spans New York, Amsterdam, and London, challenging participants to locate miniature self-portrait sculptures hidden in various everyday locations. This project marks the release of Cattelan's new limited-edition sculpture, 'We are the Revolution'.
Key Takeaways
- Maurizio Cattelan launched 'Where is Maurizio?', a global treasure hunt.
- The hunt takes place in New York, Amsterdam, and London.
- Participants search for hidden miniature self-portrait sculptures.
- The game celebrates the release of 'We are the Revolution' sculpture.
- Clues for the New York hunt begin on September 30, 2025.
A New Approach to Art Distribution
Maurizio Cattelan, known for his thought-provoking and often controversial art, is moving his work beyond traditional gallery spaces. The 'Where is Maurizio?' treasure hunt transforms public spaces into temporary art venues. This initiative allows art enthusiasts and the general public to engage directly with his work in an interactive manner.
The project highlights Cattelan's ongoing interest in how art gains value and meaning. His previous works, such as 'Comedian' (a banana duct-taped to a wall), questioned the established norms of the art market. This new scavenger hunt continues that exploration, but with a playful and accessible twist.
Interesting Fact
Maurizio Cattelan's 'Comedian' (2019), a banana taped to a wall, sold for $120,000 at Art Basel Miami Beach. This piece sparked global discussions about art's inherent value.
The Hunt Across Three Cities
The physical treasure hunt begins in New York City on September 30, 2025. Clues will be provided on Avant Arte's dedicated microsite, guiding seekers to hidden sculptures. These miniatures will be placed in unexpected spots, ranging from local market stalls to small bodegas and antique shops.
Beyond New York, digital versions of the hunt will be available in Amsterdam and London. Participants in these cities will solve online clues and submit their answers electronically. This dual approach ensures a wider international engagement with the project.
"The work plays directly into Cattelan’s long-standing fascination with value, context, and power structures in the art world," a statement from Avant Arte noted.
'We are the Revolution' Miniature Sculptures
At the center of this global chase is Cattelan's latest limited-edition self-portrait sculpture, titled 'We are the Revolution'. This hand-painted, resin miniature stands at 23 centimeters tall. It revisits an iconic gesture from his 2000 work, 'Untitled'.
The sculpture is a nod to his earlier piece, 'La Rivoluzione Siamo Noi' (2000). That work referenced German artist Joseph Beuys and his famous felt suit. Cattelan often uses self-portraits to comment on artistic identity and the role of the artist.
Background Information
Maurizio Cattelan is an Italian artist known for his satirical sculptures and installations. His works often challenge conventional art forms and societal norms. He gained significant attention for pieces like 'La Nona Ora' (The Ninth Hour), depicting Pope John Paul II struck by a meteorite, and 'America', a solid gold toilet.
Value and Accessibility
A key aspect of Cattelan's project is its commentary on the pricing of art. Each hidden edition of 'We are the Revolution' will be priced according to its specific setting. Prices will vary significantly, from $0.99 at a corner shop to €9,999 in an antiques dealership. This pricing strategy directly challenges traditional art market valuations.
In addition to the three hidden sculptures, a wider edition of 1,000 pieces is available for purchase. Each of these miniatures is hand-painted, individually numbered, and comes with a signed certificate of authenticity. These pieces are accessible through a draw system, which closes on October 24, 2025.
- Dimensions: 23 × 6 × 6 cm
- Edition Size: 1,000 pieces
- Material: Resin, hand-painted
- Release Date: October 24, 2025
- Organized by: Avant Arte
The project aims to transform the typically private act of art collecting into a shared, citywide adventure. It allows ordinary citizens to potentially discover an artwork that would otherwise be subject to long waiting lists and high-stakes auctions in the traditional art world.
According to Avant Arte, the initiative embodies Cattelan's motto: 'I am not really an artist,' which playfully counters Joseph Beuys' assertion that 'every man is an artist.' This ongoing dialogue about the nature of art and artist identity remains central to Cattelan's practice.
The Artist's Perspective
Cattelan's work consistently explores themes of authenticity, reproduction, and the role of the artist in society. By placing valuable art in unexpected, everyday contexts, he forces a re-evaluation of what constitutes an art space and who defines its value. This public engagement aspect makes the art experience more democratic and interactive.
The hunt rewards not just luck but also dedication. Participants must actively seek out clues and navigate urban environments. This physical interaction deepens the connection between the viewer and the artwork, moving beyond passive observation.
Project Details
The 'We are the Revolution' miniature is mounted on a single nail. This simple presentation continues Cattelan's series of self-portrait miniatures, which often feature understated yet impactful displays.
Impact on the Art World
This treasure hunt could influence how contemporary art is presented and consumed. It promotes a more experiential and less formal interaction with art. For many, it offers a rare opportunity to own a piece by a renowned artist through unconventional means.
The project also generates significant public discussion around art accessibility and ownership. By setting varied price points based on location, Cattelan directly questions the arbitrary nature of art market pricing. This makes the art itself a medium for social commentary.
The digital component for Amsterdam and London extends the reach of the project, allowing a broader international audience to participate. This blend of physical and digital engagement is typical of contemporary art's evolving landscape, embracing new technologies to reach new audiences.
