Micha Cattaui

Antiquity, 2018
installation view
mirko mayer gallery

Cattaui_Micha_Installation-view_2018_37

Antiquity, 2018
installation view
mirko mayer gallery

Antiquity 2.0, 2018
installation view
mirko mayer gallery

Cattaui_Micha_Installation-view_2018_36

Antiquity 2.0, 2018
installation view
mirko mayer gallery

Antiquity 2.0, 2018
installation view
mirko mayer gallery

Cattaui_Micha_Installation-view_2018_35

Antiquity 2.0, 2018
installation view
mirko mayer gallery

Corrupting the Youth, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_Corrupting-the-youth_2018_34

Corrupting the Youth, 2018
acrylic UV printing
120 x 120 cm

Gum-trance, 2022
mixed media on polyester fiberglass, white gelcoat
156 x 116 cm

Cattaui_Micha_Gum_Trance

Gum-trance, 2022
mixed media on polyester fiberglass, white gelcoat
156 x 116 cm

Socrates, 2018
EFFIX i.design mortar cement
37 x 18 x 24 cm

Cattaui_Micha_Sokrates_2018_33

Socrates, 2018
EFFIX i.design mortar cement
37 x 18 x 24 cm

We, the Kosmetai, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_We-the-Kosmetai_2018_32

We, the Kosmetai, 2018
Ink jet print on pastel paper
40 x 40 cm

Apotheke, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_Apotheke_2018_31

Apotheke, 2018
acrylic UV printing
120 x 120 cm

Hygeia (torso), 2018
EFFIX i.design mortar cement
73 x 29 x 37 cm

Cattaui_Micha_Hygeia_2018_30

Hygeia (torso), 2018
EFFIX i.design mortar cement
73 x 29 x 37 cm

Isicia Omentata, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_Isicia-Omentata_2018_29

Isicia Omentata, 2018
Ink jet print on pastel paper
40 x 40 cm

First do no Harm, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_First-do-no-harm_2018_28

First do no Harm, 2018
acrylic UV printing
120 x 120 cm

Hippocrates, 2018
EFFIX i.design mortar cement
44 x 33 x 38 cm

Cattaui_Micha_Hippocrates_2018_27

Hippocrates, 2018
EFFIX i.design mortar cement
44 x 33 x 38 cm

Waiting Room, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_Waiting-Room-2018_26

Waiting Room, 2018
Ink jet print on pastel paper
40 x 40 cm

Hero or Vigilante, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_Hero-or-Vigilante_2018_25

Hero or Vigilante, 2018
acrylic UV printing
120 x 120 cm

Demosthenes, 2018
EFFIX i.design mortar cement
33 x 23 x 22 cm

Cattaui_Micha_Demosthenes_2018_24

Demosthenes, 2018
EFFIX i.design mortar cement
33 x 23 x 22 cm

Love Affair, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_Love-Affair_2018_23

Love Affair, 2018
Ink jet print on pastel paper
40 x 40 cm

make A great again, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_Make-A-Great-Again_2018_22

make A great again, 2018
acrylic UV printing
120 x 120 cm

Alexander, 2018
EFFIX i.design mortar cement
43 x 24 x 27 cm

Cattaui_Micha_Alexander_2018_21

Alexander, 2018
EFFIX i.design mortar cement
43 x 24 x 27 cm

Force of Nature, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_Force-of-Nature_2018_20

Force of Nature, 2018
Ink jet print on pastel paper
40 x 40 cm

Pathod-Genes, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_Pathod-Genes_2018_19

Pathod-Genes, 2018
acrylic UV printing
120 x 120 cm

Hygeia (head), 2018
EFFIX i.design mortar cement
32 x 22 x 24 cm

Cattaui_Micha_Hygeia_2018_18

Hygeia (head), 2018
EFFIX i.design mortar cement
32 x 22 x 24 cm

Prey, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_Prey_2018_17

Prey, 2018
Ink jet print on pastel paper
40 x 40 cm

Evil Communications, 2018
acrylic UV printing
120 x 120 cm

Cattaui_Micha_Evil-communications_2018_16

Evil Communications, 2018
acrylic UV printing
120 x 120 cm

Menander, 2018
EFFIX i.design mortar cement
27 x 18 x 30 cm

Cattaui_Micha_Menander_2018_15

Menander, 2018
EFFIX i.design mortar cement
27 x 18 x 30 cm

Big Brother, 2018
Ink jet print on pastel paper
40 x 40 cm

Cattaui_Micha_Big-Brother_2018_14

Big Brother, 2018
Ink jet print on pastel paper
40 x 40 cm

stateless, 2016
59x45x22cm / 14x50x33cm
cement, fiberglass, steel

Cattaui_Micha_Stateless_2016_13

stateless, 2016
59x45x22cm / 14x50x33cm
cement, fiberglass, steel

appropriation / triptych, 2015
75 x 55 x 9 cm
light case, duratrans

Cattaui_Micha_appropriation_2015_12

appropriation / triptych, 2015
75 x 55 x 9 cm
light case, duratrans

MEATE FATE, 2014
mixed media on polyurethane
27 x 27 x 12 cm

Cattaui_Micha_MEATFATE_2014_11

MEATE FATE, 2014
mixed media on polyurethane
27 x 27 x 12 cm

Oops & but of course, 2015
110 x 140 x 11 cm
lightcase, duratrans

Cattaui_Micha_Oops_2015_10

Oops & but of course, 2015
110 x 140 x 11 cm
lightcase, duratrans

Tour De Force, 2015
70 x 40 x 28 cm
polyurethane, polyester, paint

Cattaui_Micha_Tour-de-Force_2015_09

Tour De Force, 2015
70 x 40 x 28 cm
polyurethane, polyester, paint

Scars and Scares, 2015
168 x 121 x 11 cm
lightcase, duratrans

Cattaui_Micha_Scars_2015_08

Scars and Scares, 2015
168 x 121 x 11 cm
lightcase, duratrans

Stateless, 2013
155 x 130 x 30 cm
mixed media on polyester fiberglass

Cattaui_Micha_Stateless_2013_07

Stateless, 2013
155 x 130 x 30 cm
mixed media on polyester fiberglass

Stateless, 2013
155 x 130 x 30 cm
mixed media on polyester fiberglass

Cattaui_Micha_Stateless_2013_06

Stateless, 2013
155 x 130 x 30 cm
mixed media on polyester fiberglass

..I think we got it all, 2013
171 x 128 x 11cm
x-ray / duratrans

Cattaui_Micha_i-think_2013_05

..I think we got it all, 2013
171 x 128 x 11cm
x-ray / duratrans

Comming soon... resurrection, 2014
110 x 70 x 35 cm
mixed media on polyester fiberglass

Cattaui_Micha_Coming-soon_2014_04

Comming soon... resurrection, 2014
110 x 70 x 35 cm
mixed media on polyester fiberglass

Thank you!, 2013
130 x 90 x 38 cm
mixed media on polyester fiberglass

Cattaui_Micha_Thank-you_2013_03

Thank you!, 2013
130 x 90 x 38 cm
mixed media on polyester fiberglass

Great Expectations, 2013
146 x 106 x 34 cm
mixed media on polyester fibreglass

Cattaui_Micha_Great-Expectations_2013_02

Great Expectations, 2013
146 x 106 x 34 cm
mixed media on polyester fibreglass

Untitled, 2013
80 x 50 x 14 cm
mixed media on polyester fibreglass

Cattaui_Micha_Untitled_2013_01

Untitled, 2013
80 x 50 x 14 cm
mixed media on polyester fibreglass

inquire

works

exhibitions involved

ANTIQUITY 2.0

What if ancient Greek philosophers, gods, heroes, and artists came alive today? What would they say?
How would we perceive them? How prophetic were their thoughts?
How relevant are they for our world today?

The 21st century is the most interesting century of all the humankind’s history. Almost every section of human activity from politics to sciences has changed and improved significantly. Contemporary and modern artists have repeatedly used sculptures from antiquity as the starting point for their inspiration. One can only admire the quality and craftsmanship seen in antique art; often rivaled, mimicked, copied, but never equaled.

With Micha’s new works, the artist bridges that sense of artistic perfection seen in Ancient Greece and merges it with our modern society of mass consumerism. The result is a collaboration and a conversation between three body of works; the sculpture, a “pop” photograph of the sculpture and a museum location shoot where the sculpture is imagined back into “context”. All three items, although based on the same sculpture, allows for a different political expression in each individual artwork.

What if ancient Greek philosophers, gods, heroes, and artists came alive today? What would they say?
How would we perceive them? How prophetic were their thoughts?
How relevant are they for our world today?

The 21st century is the most interesting century of all the humankind’s history. Almost every section of human activity from politics to sciences has changed and improved significantly. Contemporary and modern artists have repeatedly used sculptures from antiquity as the starting point for their inspiration. One can only admire the quality and craftsmanship seen in antique art; often rivaled, mimicked, copied, but never equaled.

With Micha’s new works, the artist bridges that sense of artistic perfection seen in Ancient Greece and merges it with our modern society of mass consumerism. The result is a collaboration and a conversation between three body of works; the sculpture, a “pop” photograph of the sculpture and a museum location shoot where the sculpture is imagined back into “context”. All three items, although based on the same sculpture, allows for a different political expression in each individual artwork.

ARTIST STATEMENT

“I believe that art should be critical of our times and try to engage the viewer in having a conversation. In ancient Greece, art and humor was applied on an almost industrial scale on items such as vases. They are a centuries old testament that humor is a cornerstone of a civilization and a prerequisite for democracy. With my new works, I try to combine that very idea that humor/sarcasm should be an integral part of a political observation.”

“I believe that art should be critical of our times and try to engage the viewer in having a conversation. In ancient Greece, art and humor was applied on an almost industrial scale on items such as vases. They are a centuries old testament that humor is a cornerstone of a civilization and a prerequisite for democracy. With my new works, I try to combine that very idea that humor/sarcasm should be an integral part of a political observation.”

Micha Cattaui
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STREETONOMICS

Using street names to measure a city’s cultural values.

Streets have been used as a form of social engineering, mirroring a town’s cultural, political and religious values. They also suggest what people deeply care about, who they are, and who they like to be seen to be.

In Micha’s new works, European city streets become his subject as the artist captures a sort of “time capsule” by creating molds in-situ that he later casts in his studio capturing all the elements at the time of mold making.

Streetonomics will leave you looking at streets in a whole new way…

“During the first covid-19 lockdown, I had to travel quite extensively to some European cities and what bewildered me the most, was the silence, the eerie quietness from otherwise busting streets with life. As public transport was also to a standstill, walking was my means of transport from one city location to an other. Some streets, known for their active spirited and energetic temper, were stripped of what was once their signature dish, sort of speak. Some others, like in Geneva, were just as empty as they were during pre-covid times.

What they all had in common, was that the streets lost their people, their character, their way of life.

Slowly after life started getting back to normalcy, I wanted to capture the emotions that I had felt, whether gained or lost, from those city streets during covid. From the fresh chewing gum left by newly visiting tourists on the marble pavement at the entrance of the Ancient Agora in Athens to the fatigued cracking asphalt of a once busy street of the Swiss alps.

My journey continued to Milan on via Corridoni, adjacent to the entrance of the famous Leonardo da Vinci university language school, who’s walls drew my interest as a witness to decades of graffiti, peeling off from their glorious past of being a student’s artistic sociopolitical “message board” and desperately waiting for the remote learning to end.

My last stop was in Cologne, who’s stone paved streets had a story to tell, literally!…”

Micha Cattaui, May, 2022

Using street names to measure a city’s cultural values.

Streets have been used as a form of social engineering, mirroring a town’s cultural, political and religious values. They also suggest what people deeply care about, who they are, and who they like to be seen to be.

In Micha’s new works, European city streets become his subject as the artist captures a sort of “time capsule” by creating molds in-situ that he later casts in his studio capturing all the elements at the time of mold making.

Streetonomics will leave you looking at streets in a whole new way…

“During the first covid-19 lockdown, I had to travel quite extensively to some European cities and what bewildered me the most, was the silence, the eerie quietness from otherwise busting streets with life. As public transport was also to a standstill, walking was my means of transport from one city location to an other. Some streets, known for their active spirited and energetic temper, were stripped of what was once their signature dish, sort of speak. Some others, like in Geneva, were just as empty as they were during pre-covid times.

What they all had in common, was that the streets lost their people, their character, their way of life.

Slowly after life started getting back to normalcy, I wanted to capture the emotions that I had felt, whether gained or lost, from those city streets during covid. From the fresh chewing gum left by newly visiting tourists on the marble pavement at the entrance of the Ancient Agora in Athens to the fatigued cracking asphalt of a once busy street of the Swiss alps.

My journey continued to Milan on via Corridoni, adjacent to the entrance of the famous Leonardo da Vinci university language school, who’s walls drew my interest as a witness to decades of graffiti, peeling off from their glorious past of being a student’s artistic sociopolitical “message board” and desperately waiting for the remote learning to end.

My last stop was in Cologne, who’s stone paved streets had a story to tell, literally!…”

Micha Cattaui, May, 2022

micha cattaui / biography

 
  
  
1972 *Lausanne Switzerland by Egyptian and Greek parents
1995BA Industrial Design, Rhode Island School of Design (RISD), Providence, RI, USA
1996BID, Rhode Island School of Design (RISD), Providence, RI, USA
 "Thomas Lamb Award" for excellence in design and invention Studied painting under Swiss Artist William Borloz
 Studied Drawing under famous American Artist, Thomas L. Mills
  
  

einzelausstellungen | solo shows

 
  
2018UNSEEN, Amsterdam, with mirko mayer gallery, NL
 "Antiquity 2.0", part 2, DL gallery, Piraeus, GRC
 "Antiquity 2.0", part 1, mirko mayer gallery, Cologne, DE
2012Skoufa Gallery, Athens, GRC
  
  

gruppenausstellungen | group shows

 
  
2017"On the edge of photography", Mykonos, mirko mayer gallery / municipal art gallery, GRC
2016"back to basics: Uncanny", Enia gallery, Piraeus, GRC
 "lost & found", Mykonos, mirko mayer gallery / municipal art gallery, GRC
2015UNSEEN fair, Amsterdam, mirko mayer gallery booth together with Clegg & Guttmann, NL
 "masterpieces in bits & pieces", mirko mayer / m-projects gallery, Cologne, DE
 „Scars & Scares", Skoufa Gallery, Athens, GRC
 "Holiday House Show", New York, USA
2014„Great Expectations", mirko mayer / m-projects Gallery, Cologne, DE
20134tth Thessaloniki Biennale of Contemporary Art Tradition - Reversal, Sate Museum of Contemporary Art, Thessaloniki, GRC
 group show, mirko mayer / m-projects, Cologne, DE
2012"Treno Sto Rouf", Athens, GRC
 Posidonia, Athens, GRC
 EcoArt Frankfurt, Frankfurt am main, Germany, DE
2011Skoufa Gallery, Athens, GRC
2010"Art in the Countryside", Porto Heli (Brinies), GRC
2001Boiling sink cooking system for a kitchen - United States Patent 6192791

micha cattaui / biography

1972
*lausanne switzerland by egyptian and greek parents

1995
ba industrial design, rhode island school of design (risd), providence, ri, usa

1996
bid, rhode island school of design (risd), providence, ri, usa
thomas lamb award for excellence in design and invention studied painting under swiss artist william borloz studied drawing under famous american artist, thomas l. mills  

 

einzelausstellungen | solo shows

2022
streetonomics, mirko mayer gallery, cologne, de

2018
unseen, amsterdam, with mirko mayer gallery, nl
antiquity 2.0, part 2, dl gallery, piraeus, grc
antiquity 2.0, part 1, mirko mayer gallery, cologne, de
“Clash of Clans”, dl gallery, piraeus, gr – duo exhibition with Pasi Orrensalo 

2016
Found & Lost,  – mirko mayer gallery(municipal art gallery), Mykonos, Greece

2015
scars & scares, skoufa gallery, athens, grc    
masterpieces in bits & pieces, cologne, germany - mirko mayer / m-projects gallery
UNSEEN, Photo fair, Amsterdam, NL solo exhibition with Mirko Mayer gallery

2014
great expectations, cologne, germany - mirko mayer / m-projects galler

2012
skoufa gallery, athens, grc    

gruppenausstellungen | group shows

2018
Masterpieces & Personalities, mirko mayer gallery / m-Projects, cologne, de

2017
on the edge of photography, mykonos, mirko mayer gallery / municipal art gallery, grc

2016
back to basics: uncanny, enia gallery, piraeus, grc
lost & found, mykonos, mirko mayer gallery / municipal art gallery, grc

2015
unseen fair, amsterdam, mirko mayer gallery booth together with clegg & guttmann, nl
masterpieces in bits & pieces, mirko mayer / m-projects gallery, cologne, de
scars & scares, skoufa gallery, athens, grc
holiday house show, new york, usa

2014
great expectations, mirko mayer / m-projects gallery, cologne, de

2013
4tth thessaloniki biennale of contemporary art tradition - reversal, sate museum of contemporary art, thessaloniki, grc
group show, mirko mayer / m-projects, cologne, de

2012
treno sto rouf, athens, grc
posidonia, athens, grc
ecoart frankfurt, frankfurt am main, germany, de

2011
skoufa gallery, athens, grc

2010
art in the countryside, porto heli (brinies), grc

2001
boiling sink cooking system for a kitchen - united states patent 6192791