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Maurizio Cattelan Reimagines the Pompidou-Metz Collection

The Centre Pompidou-Metz marks its 15th anniversary with a museum-wide exhibition curated by Maurizio Cattelan.

May 6, 2025
in Art, Exhibitions, Visual Artists
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Maurizio Cattelan
Maurizio Cattelan, *Comedian*, 2019 Banane et ruban adhésif. Dimensions variables Photo, Zeno Zotti. Courtesy, Maurizio Cattelan’s Archive Copyright : Photo, Zeno Zotti. Courtesy, Maurizio Cattelan’s Archive

To mark its 15th anniversary, Centre Pompidou-Metz unveils “Endless Sunday,” an exhibition that stretches across the entire museum. Opening on May 8, 2025, the show brings together over 400 works from the Centre Pompidou’s national collection alongside nearly 40 works by Maurizio Cattelan himself. This project, co-curated by Cattelan and Chiara Parisi, constructs a dynamic narrative that moves through time and across disciplines. Structured as an ABC, the exhibition draws from literature, cinema, and art history to question our assumptions about culture, freedom, and the politics of display. The scenography, designed by Berger&Berger, uses the museum’s architecture to create a circular, flowing path that invites  introspection.

ART

The title, “Endless Sunday,” encapsulates a day suspended between leisure and unrest, evoking rituals of rest, acts of rebellion, and cultural reflection. Cattelan reimagines Sunday’s paradoxes through works that range from historical artefacts to provocations. L.O.V.E., his colossal middle-finger sculpture, confronts visitors at the entrance, immediately setting a tone of subversion. The exhibition’s layout disrupts chronological order and traditional hierarchies, creating unexpected juxtapositions between pieces like Felix Gonzalez-Torres‘s “Last Light” and Meret Oppenheim’s “Old Snake.”

Joan Mirò, *La course de taureaux*, 8 octobre 1945 Huile sur toile, 114 x 144 cm Centre Pompidou, Musée national d’art moderne, AM 2763 P Copyright : © Successió Miró / Adagp, Paris, 2025 / Photo : © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. GrandPalaisRmn

Galerie 1 focuses on political and aesthetic tensions. From Natalia Goncharova’s wrestlers to Otto Dix’s postwar reflections, the space presents Sunday as an arena of both conflict and transformation. Cattelan’s section “Quand nous cesserons de comprendre le monde” centers on his own work “Comedian,” dissecting the art market’s fetishism of the symbolic. Another key installation, the Round Table by Chen Zhen, stages a suspended negotiation: twenty-nine chairs from across the globe hover above the ground, inaccessible and symbolically detached. Nearby, Cattelan’s golden installation “Sunday” is pierced with bullet holes, a stark reflection on the American paradox of prosperity and gun violence.

Maurizio Cattelan
Maurizio Cattelan, *Spermini*, 1997 Masques en latex peints, 17,5 x9 x 10 cm (chacun) Courtesy Maurizio Cattelan’s Archive Photo : © Attilio Maranzano Copyright : Courtesy Maurizio Cattelan’s Archive / Photo : © Attilio Maranzano

The show expands beyond the visual. Wall texts authored by Cattelan and inmates from the Giudecca women’s prison provide deeply personal and political commentary. Inmates from the Metz Penitentiary Center also participate as trained mediators, guiding tours and contributing to a larger discourse on reintegration and the role of art in society. Their inclusion is not symbolic but active, embodying the exhibition’s larger questions about who is allowed to speak, interpret, and belong.

Maria Helena Vieira da Silva, *La partie d’ échecs*, 1943 Huile sur toile, 81 x 100 cm Paris, Centre Pompidou, Musée national d’art moderne Copyright : © Adagp, Paris, 2025 / Photo : © Centre Pompidou, MNAM-CCI/Service de la documentation photographique du MNAM/Dist. GrandPalaisRmn

As a whole, “Endless Sunday” offers a rethinking of the museum format. With installations like Cattelan’s mini Wrong Gallery embedded within the exhibition and layered scenographies that destabilize the viewing experience, the show acts as a labyrinth of reflection. Through this sprawling collaboration between past and present, irony and sincerity, Centre Pompidou-Metz reasserts itself as a site of experimentation and thought.

Tags: artartistsexhibitions
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Comments 1

  1. kylie.nyc says:
    2 months ago

    maurizio is the best!

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