Who is Maurizio Cattelan? Everywhere, everywhere and nowhere, he is the kind of artist that everyone knows without knowing him, he is the kind of artist who physically survives within a very limited number of people. Born in 1960 in Italy, he multiplied the most disparate jobs to unite both parts before becoming an artist, jobs that include being a cook, postman, janitor, donating sperm or working in a morgue. Looking at these past work experiences in multiple fields, it seems difficult for the viewer not to make connections with his works, from 2008's All to the numerous sexual references in Toilet Paper. His decision to become an artist was born from the desire to survive. without working, working being essential to survival, making art turning out to be much more work than expected. « Hunting for freedom, I found the real prison. But at least it's a prison I chose for myself. » said the artist in 2004, fixing the dualism of being an artist, tormented between freedom and imprisonment. More than an artist, Maurizio Cattelan is both an excellent actor and a spokesperson, who carefully chooses the right words to fuel his enigmatic personality by selling the image of a clumsy and clumsy man. Described as a hating journalist, he is said to often send a friend to pretend to be him. Constantly keeping the mystery about him alive, he seems to always hide in the shadows of his fictional character, never fully revealing himself. His character cannot help but recall a tragedy of Musset, lost in his character or not, the artist himself said he does not know who he is. Whether fiction or fact, one wonders if such fame could have been achieved without the enormous amount of publicity and... middle of paper... a double page spread. A regular press with irregular colors where every provocation is expected and anticipated, where the surprise that the reader had when opening the first issues and the brand is slowly fading. Where the repetition of these codes becomes tiring. In the end it all seems fragile and flat, but the reader still feels unusually drawn to it and wants to own it. Although the magazine's site offers short videos taken during the shoot that are proving to be much more effective, the reader already saturated with oversaturated images is asking 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, the need to purchase a collector's item, a memento of a declining era, something that says "I was there, I have a problem too." Blaming self-respect.