Maurizio Cattelan, an artist celebrated for his unconventional approach, recently orchestrated an intriguing event, a 'Silent Party,' for the Renaissance Society's annual fundraising gala. This unique gathering, held in Chicago, urged participants to engage in communication solely through written notes for a significant duration, thereby transforming the typical social dynamics of such events. The occasion also served as a platform for Cattelan to unveil new iterations of his renowned artworks, including a re-imagined version of his golden toilet, 'America,' and a striking reinterpretation of 'La Nona Ora.' In interviews, Cattelan shared his perspectives on fundamental concepts within the art world, such as the essence of artistic originality, the intricate mechanisms of the art market, and the fascinating journey his controversial pieces undertake after their initial exhibition.
For many years, traditional art benefit galas have followed a predictable format: a cocktail reception, followed by a formal dinner with assigned seating, where guests engage in polite conversation and networking. Speeches are delivered to an often distracted audience, while photographers capture the evening's fashion for social pages. Occasionally, a celebrity auctioneer might preside over bids for artworks or exclusive experiences, all in the spirit of philanthropy. However, artists frequently challenge established norms, and the Renaissance Society, a distinguished arts institution at the University of Chicago renowned for its intellectually stimulating exhibitions, has embraced this by inviting artists to conceptualize its annual benefit, affectionately known as the RenBen.
In 2025, the artist Meriem Bennani served as the master of ceremonies, and the event unfolded at a functional commercial helicopter facility. Throughout the evening, aircraft impressively landed and departed, adding an unexpected and dynamic backdrop to the proceedings. This choice of venue and a departure from conventional formats exemplified the Renaissance Society's commitment to innovation and artistic expression, ensuring that each year's RenBen is a memorable and thought-provoking experience that transcends the ordinary expectations of a fundraising event.
Maurizio Cattelan, an Italian artist, is particularly adept at defying expectations. His 'Silent Party,' held on Wednesday, April 8, ahead of the nineteenth edition of the Expo Chicago art fair, took place at the historic Chicago Athletic Club. This grand 1893 hotel on Michigan Avenue, facing Millennium Park, boasts an elaborate façade and lavish lobby levels, reminiscent of Venice's Doge's Palace. For this event, two floors of the club were transformed into an intricate maze. Visitors were required to navigate this labyrinth in complete silence for two hours, communicating exclusively through handwritten notes in provided notebooks. To facilitate this, guests wore necklaces with curved metal pieces designed to hold their wineglasses while they wrote, further emphasizing the unique interactive nature of the experience.
The event offered a diverse range of interactive performances and installations across various rooms. Artist Jacob Ryan Renolds, for instance, created "Terrible Portraits" in a mere five minutes, producing amusing renditions that captivated attendees. Davide Balula presented three performers in black and white, engaging in slow-motion dances, their movements seemingly dictated by directives displayed on a screen, evoking a high-concept version of the game Twister. In a separate suite, Isabelle Frances McGuire exhibited a life-sized animatronic donkey alongside a sculpture of Napoleon Bonaparte resting in a bed. Another suite featured a magician performing card and coin tricks without any verbal patter; one notable illusion involved a coin vanishing from a clenched fist into the magician's hand. Elsewhere, Justin "Nordic Thunder" Howard, the Air Guitar World Champion, performed silently in a minimalist leather outfit, playing along to music audible only through his headphones, adding another layer of unexpected and silent engagement to the unique event.
The concluding hour of the evening saw the silence dramatically broken by a lavish dinner party, complete with live music and an exquisite culinary experience. James Beard award-winning Chicago chef Jason Hammel of Lula Cafe curated the menu, which featured a remarkable twelve-foot-long tiramisu. The event successfully raised an impressive $600,000, underscoring the community's generous support for the Renaissance Society's mission.
Cattelan possesses a remarkable ability to create viral art, as demonstrated by his 2019 work, 'Comedian,' a banana affixed to a wall with duct tape, which became a sensation at Art Basel Miami Beach and has since garnered continuous media attention. His functional solid gold toilet, 'America' (2016), also drew immense public interest during its display at New York's Guggenheim Museum, with visitors queuing to experience its regal use. His 2011–12 career retrospective, 'All,' also at the Guggenheim, controversially left the galleries surrounding the iconic ramp empty, instead transforming the spiral rotunda into the exhibition space where his sculptures were suspended mid-air. At the time, Cattelan announced this show marked his retirement from art. However, his ongoing re-engagement with new and past works proves that his artistic journey is far from over, consistently challenging perceptions and engaging audiences globally.
Cattelan is now revisiting two of his existing works through Avant Arte, a platform specializing in artist editions. These new editions revive pieces that previously generated considerable discussion. At the RenBen, an example of 'Therapy' (2026) was showcased: an editioned print featuring 22-karat gold shaped into a toilet seat on a large sheet of paper. This piece reimagines 'America' at a more accessible price point, with proceeds benefiting the Renaissance Society. Another new edition is a version of 'La Nona Ora' (The Ninth Hour, 1999), depicting Pope John Paul II struck down by a meteorite. This piece, whose title alludes to Christ's cry on the cross, portrays the Vicar of Christ felled by a random cosmic event rather than human oppressors. Avant Arte is releasing a new version of this work, priced at $2,851, in an edition of exactly 666, a number resonant with biblical symbolism.
Originality, often seen as the cornerstone of artistic value, is, according to Cattelan, a comforting illusion. He posits that ideas transcend individual ownership, circulating freely and continuously evolving. For him, the crucial aspect is not who first conceived an idea, but rather who can imbue it with renewed necessity and relevance. Authorship, in his view, is less about claiming possession and more about the unique perspective an artist brings to a concept. He suggests that beyond this, the discourse surrounding originality often boils down to timing and a nuanced sensitivity to cultural currents.
The life cycle of an artwork, particularly 'America,' transcends its market value. Initially exhibited in a museum restroom, the golden toilet was subsequently stolen, leading to a police investigation and a legal trial. Its re-emergence at auction and subsequent relocation highlight its capacity to adapt and gain new layers of meaning in different contexts. The price, in this narrative, becomes secondary to the work's evolving story. Rather than a static object, 'America' behaves like a dynamic narrative, its significance deepening as it moves beyond the confines of a traditional museum setting. Its placement at Ripley's further amplifies its multifaceted existence, positioning it at the intersection of belief and spectacle, a space it has always occupied.