Unpacking Maurizio Cattelan’s Duct-Taped Masterpiece
If a humble banana duct-taped to a wall sounds unremarkable, Maurizio Cattelan’s Comedian has proven otherwise. This controversial artwork became the centre of attention during the New York auction season, achieving a hammer price of $5.2 million (or $6.2 million with fees) after an intense seven-minute bidding war at Sotheby’s.
On 20th November, Comedian (2019), featuring a singular banana fastened to the wall with silver duct tape, was listed as part of Sotheby’s The Now and Contemporary auction. Originally estimated to fetch between $1 million and $1.5 million, the piece smashed expectations as bidders competed fiercely for ownership.
A Symbol Of Modern Art
The final bid came from Justin Sun, a Chinese collector and founder of the cryptocurrency platform Tron. Connected through Sotheby’s deputy chairman of Asia, Jen Hua, Sun outbid several online contenders to secure the lot. Notorious for high-stakes purchases, Sun previously bought a $78 million Giacometti sculpture in 2021 and narrowly missed acquiring the record-breaking Beeple NFT that same year.
Speaking through Sotheby’s after his latest acquisition, Sun declared Comedian as “a cultural phenomenon bridging art, memes, and the cryptocurrency world.” He further revealed his plan to eat the banana—a gesture he believes will honour the piece’s place in art history and popular culture.
Cryptocurrency Meets Conceptual Art
Sotheby’s, adapting to changing times, made headlines by accepting cryptocurrency as payment for the lot. Although the auction house declined to disclose which digital currency would be used, Justin Sun’s intent to pay through crypto reflects the growing convergence of modern art and blockchain technology.
The artistic value of the concept does not end with a banana and duct tape. The winning bid secured not just the fruit and a roll of tape but also a certificate of authenticity. Additionally, Maurizio Cattelan provided buyers with specific guidelines on how the work should be displayed—ensuring its ephemeral nature is preserved.
Origins Of A Viral Sensation
Cattelan first unveiled Comedian at Perrotin’s booth during Art Basel Miami Beach in 2019, marking his return to sculpture after a 15-year hiatus. The Italian artist, known for his provocative and satirical works, described it as “a sincere commentary and reflection on what we value.”
The piece quickly drew global attention, becoming both an object of ridicule and fascination. Crowds clamoured to see it, forcing Perrotin to remove the display for safety reasons before the event concluded. During the fair, three editions of Comedian sold for prices ranging between $120,000 and $150,000.
Art Or Absurdity?
Reactions to Cattelan’s creation have been polarising. Critics deride the work as emblematic of excess in the contemporary art market, while others admire it as a clever critique of its inherent absurdity. Its banana component, trivial yet symbolic, has inspired dramatic interpretations and incidents.
Notably, the banana has twice been consumed during public displays—first by a performance artist at Art Basel, and later by a hungry art student at the Leeum Museum of Art in Seoul. On both occasions, Cattelan’s response was casual, remarking, “It’s no problem at all.” Interestingly, one edition of the artwork has since entered the collection of the Solomon R. Guggenheim Museum, cementing its legacy in institutionalised art.
A Piece That Continues To Spark Debates
The most recent sale at Sotheby’s has reignited discussions around the work’s conceptual value and speculative pricing. Despite its playful appearance, Comedian holds a mirror to society’s obsession with status, value assignment, and the blurred lines between art and consumer culture.
Curiously, a fresh banana was sourced from a fruit stand outside Sotheby’s headquarters to replace the decayed original—adding an amusing logistical note to the otherwise prestigious auction process. It seems that while Comedian may provoke disbelief, it also challenges us to reconsider the boundaries of creativity and commerce.
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