Who is Maurizio Cattelan? Everywhere, anywhere and nowhere, he is the kind of artist that everyone knows without knowing him, he is the kind of artist who survives physically in the sphere of a very limited number of people. Born in 1960 in Italy, he took on odd jobs to make ends meet before becoming an artist, jobs which included being a cook, postman, janitor, sperm donor and working in a morgue. Considering his past work experiences in multiple fields, it seems difficult for the viewer not to make connections with his works, from All in 2008 to the numerous sexual references in Toilet Paper. His decision to become an artist was born from his desire to survive. without working, working being essential to survive, making art work much more than expected. “In search of freedom, I found the real prison. But at least it's a prison I chose for myself. » said the artist in 2004, emphasizing the duality of being an artist, tormented between freedom and imprisonment. More than an artist, Maurizio Cattelan is both a very good actor and a very good spokesperson, carefully choosing the right words to fuel his enigmatic character selling the image of a clumsy and clumsy man. Described as hating journalists, rumors say he often sends a friend to pretend to be him. Constantly maintaining the mystery around him, he always seems to hide in the shadow of his fictional character, without ever fully revealing himself. His character can only recall a tragedy by Musset, lost or not in his character, the artist himself says that he does not know who he is. Whether fiction or fact, one wonders if such fame could have been achieved without the massive amount of advertising in the middle of a paper... a double page spread. A regular print run with irregular colors where each provocation is expected and anticipated, where the reader's surprise when opening the first issues and the brand gradually fades. Where the repetition of these codes becomes boring. It all ultimately feels flimsy and flat, but the reader still feels drawn to it and wants to possess it. Even if the magazine's website offers short videos made during filming which prove to be much more effective, the reader, already full of oversaturated images, asks for more. There is something strange about the decline of print media, which gives surviving and thriving magazines a mystical aura. Possession suddenly becomes obligatory, a need to buy a collector's item, a memento of a fading era, something that says "I was there, I have a problem too." Blame self-respect.