This summer, Porto becomes the stage for one of the most anticipated exhibitions of the year: Sussurro, a major Maurizio Cattelan retrospective, now on view at the Serralves Villa and Park through January 11th, 2026. Curated by Philippe Vergne and produced by the Serralves Foundation – Museum of Contemporary Art, the exhibition immerses visitors in a world where irony, history, and theatricality collide.
Set within the striking 1930s Art Deco villa and expanded into the surrounding landscape of Serralves Park, Sussurro presents a unique encounter with Cattelan’s sculptural language—a voice that whispers, mocks, and dares all at once.
A showcase of Maurizio Cattelan’s famous works
Spanning key moments in Cattelan’s career, Sussurro assembles a constellation of Maurizio Cattelan’s famous works and iconic installations that reflect his signature blend of dark humor and philosophical inquiry. The artist is best known for creating visually arresting scenes that oscillate between slapstick and solemnity, offering commentary on mortality, historical figures, and collective memory.
Among the highlights is Novecento, a taxidermied horse suspended from the ceiling—its title a nod to the 20th century and its fate a tragicomic emblem of cultural exhaustion. Another standout is Him, a haunting sculpture of a childlike figure kneeling in prayer—its face revealed only upon approach as that of Adolf Hitler, a stark confrontation with evil disguised in innocence. These works exemplify Cattelan’s power to shock and seduce through aesthetic contradiction and moral ambiguity.
Historical figures in art reimagined
Central to the exhibition is the artist’s ongoing fascination with historical figures in art and their symbolic afterlives. Cattelan’s sculptural narratives—referred to as saynètes—are populated by a cast that includes not only political icons and cultural archetypes, but also references to his artistic “ancestors” such as Joseph Beuys, Lucio Fontana, and Andy Warhol. These influences form a lineage of radical creators who, like Cattelan, blurred the lines between image-making and myth-making.
His use of space is no less deliberate than his choice of figures. The scenography of Sussurro feels theatrical and cinematic; the Serralves Villa becomes not just a backdrop, but an active participant in the unfolding drama.
Ironic art that whispers and provokes
This retrospective is as much about ironic art as it is about historical memory. The title Sussurro, meaning “whisper” in Italian, is ironic in itself—many of the works shout through their silences, forcing viewers to reckon with discomfort in unexpected ways. Whether drawing from religion, politics, or pop culture, Cattelan’s visual aphorisms disturb easy readings. His sculptures feel like riddles crafted from shared anxieties and unspoken truths.
