MiCha Cattaui “the mykonos project”: September 2nd – 10th 2016 - Cosmopoliti.com

Bill & Coo Hotels Mykonos on the occasion of their 10th anniversary and Mirko Mayer Gallery present

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MiCha Cattaui “the mykonos project”

Opening Event September 2nd 2016 19.00 – 23.00
Exhibition Venue S. Siriotis Hall / Mykonos town
September 2nd – 10th 2016

The art of Controversy…

Micha Cattaui, born in 1972 in Switzerland by an Egyptian father and a Greek mother. Studied Industrial Design at the Rhode Island School of Design. First solo exhibit was in 2012 in Athens and since then his work has been showcased in numerous cities across Europe. He is currently represented by the gallery Mirko Mayer / m-projects and is currently preparing a solo exhibition on Mykonos in September. The premise of his exhibit “Lost & Found” is that our society is at a loss today unhinged from their past and without a compass for the future. Micha’s works often take direct aim at current affairs “ I believe art should be a reflection of our times – the more critical, the better. We are living in a society where free speech is being questioned and challenged everyday. Art should be pushing these boundaries beyond physical borders! The more opinions differ in looking at an artwork, the more successful it is”.

Artist’s note:

To whom does art belong? Where should the artifacts of our heritages reside?
Does a country or people have a permanent claim on the masterpieces of the past – or present – that were generated on their soil in a particular geographic location at a particular moment in time?

The heritage of a civilization, the products of its arts, have changed “owners” over the years and centuries with the constant shifts and redrawing of boundaries. At times, when it seems that these heritages are in peril of obliteration or degradation, they have been removed to so-called safety, by a more powerful, more “educated”, more “civilized”, protector. And with the tacit assent of most of the world.

Usually, they are never returned. Should there be a “statute of limitations” on such expatriations to distant museums?
Is there special value put on in situ locations?

And what about the citizens of that distant museum for whom the re-located art has now become part of their own national treasure and national pride?

Again today, with upheavals occurring in parts of the world that were home to some of the most ancient civilizations and their art, what should be done, if anything? Is virtual rendition of these heritages sufficient? If removed by self-proclaimed protectors, will those peoples now occupying the areas of their creation feel any sense of loss?

And what about private ownership? Today’s works of art are bought and sold across borders. They are not yet decisively designated as the masterpieces of a current national or geographic entity. When they are – what next? Returned? To where? To whom? Who will decide?