Maurizio Cattelan

An art world upstart, provocative and elusive artist Maurizio Cattelan made his career on playful and subversive works that send up the artistic establishment, until a retrospective at the Guggenheim in 2011 finally solidified his place in the contemporary art canon. Axelrod's equally playful profile leaves no stone unturned in trying to figure out: who is Maurizio Cattelan?

One of the most provocative and elusive figures in contemporary art finds himself the subject of Maura Axelrod's film. Catapulted to worldwide notoriety in 1999 by The Ninth Hour, a sculpture of Pope John Paul II toppled by a meteorite, Maurizio Cattelan's work has bordered on criminal activity (breaking into a gallery and stealing another artist's work) and regularly defies good taste - Him features Hitler in prayer and sold earlier this year for a whopping £12,000,000. Building his career on evasion, trickery and subversion, Cattelan is perhaps not the most reliable of interviewees, but ex-girlfriends, family members, collectors and dealers build a compelling and intimate portrait of an enigmatic figure. Bold, witty and playful as a Cattelan work itself, is this film really all it seems?

In an operating theatre in a hospital robotic surgery department, a journey through the human body is undertaken by a specialized robot named Da Vinci. The surgeon conducts the entire operation remotely, controlling the robot’s intricate movements with a joystick.