New York

Banana market or art? A 6.2 million Cattelan

The installation won at Sotheby's auction over estimates by China's Justin Sun. In 2019 it had made a lot of noise at ArtBasel Miami

by Giovanni Gasparini

3' min read

3' min read

On the evening of 20 November in New York, Maurizio Cattelan's 'Comedian' lot, one of three editions of a banana attached to the wall by a piece of industrial duct tape that debuted in 2019 at the Perrotin Gallery booth at the ArtBasel Miami fair, where it had first sold for $120,000, was long contended to realise $5.2 million from an estimate secured by auction house Sotheby's of $1-1.5m, which becomes $6.2m with commissions. The artist's record-breaking 'Him' (2001) sculpture of Hitler kneeling in prayer (ed. of 3) traded at auction in 2016 at Christie's New York for the hammer price of 15,200,000 remains unbeaten. However, it is still a long road for Cattelan to reverse the course of his under-the-hammer prices, which have lost -45.9 per cent since 2002.

Cryptocurrencies and art

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As was easy to predict since Sotheby's announced that it also agreed to settle payments in 'cryptocurrency', the buyer comes from the world of blockchain enthusiasts: it is the Chinese Justin Sun. We can speculate that the new owner will make it a form of investment for third parties in the form of NFTs or similar, given the new impetus to these forms of betting following the election of Trump and Musk. It is all in all a fair exchange: non-existent currency pays for a lot that has only the banana in it.

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Him (2001) di Maurizio Cattelan, Ed. 3 101 x 43.1 x 63.5 cm

The episode perfectly renders the state the contemporary art world has reached, which rewards a sensationalism good for ticktock and Instagram, a product ready for financial speculation through the elimination of the work itself.

For the serious artists who still exist and perhaps try to contextualise the banana symbol within the absurd evolution of the world economy, the message is clear and depressing: a joke is worth more than any reasoning. And the credibility of the market, even in the eyes of the general public, is shattered.

The auctioneer spent the minutes waiting between bids on the phone cramming in banana jokes that in the context of a Minions film would have been hilarious; long gone are the days of Sotheby's historic auctioneer Peter Wilson who invented the first 'black-tie' auction-event in 1958. And of when the Guggenheim bought paintings instead of bananas.

The art of 100 years ago

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The references to Duchamp's ready-made are as obvious as they are misplaced, starting with the fact that the famous urinate was conceived 100 years before the present-day cattelanesque cleverness,

What 100 years ago was a break with the social conventions of a world at war, today becomes an act of conformity that only works because of the ignorance of the economic elites that dominate the new world.

References to the market questioning actions of 60 years ago with great innovative artists such as Yves Klein and Arte Povera are also misplaced for the same reasons; assuming today's customers are aware of their existence, which is not necessarily true in an era when money and culture certainly do not seem to go hand in hand.

But there is no need to be outraged: the new world has won, and for us dinosaurs who still believe that art and its market can have any meaning, extinction will soon follow. However, fruit remains a topic of interest: shortly afterwards even one of the umpteenth versions of Kusama's pumpkin found its millionaire buyer; and this one is not even edible. Perhaps the auction houses have decided to change trades.

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