Maurizio Cattelan, the Italian artist renowned for his provocative and satirical sculptures, has consistently challenged societal norms and forced viewers to confront unsettling questions. Among his most controversial works is Him (2001), a wax sculpture that continues to ignite debates about the origins of evil and humanity’s ability—or inability—to reconcile with the past.
An Innocent Posture, a Chilling Revelation
At first glance, Him appears to be a small boy kneeling in prayer, an image that evokes innocence and spirituality. Displayed for the first time at Stockholm’s Färgfabriken art hall in 2001, the sculpture was positioned with its back to viewers, inviting them to approach slowly. As they circled around the figure, the shocking revelation emerged: this wasn’t a child but Adolf Hitler, depicted in a moment of prayer. The unexpected twist jolted viewers, forcing them to grapple with their assumptions about innocence, guilt, and forgiveness.
From Prankster to Provocateur
Cattelan has earned a reputation as an art-world prankster with works such as La Nona Ora (1999), a sculpture of Pope John Paul II struck by a meteorite, and America (2016), a fully functional 18-carat gold toilet. However, Him transcends the label of a mere artistic joke. With its £12 million price tag at Christie’s in 2016, the sculpture has cemented itself as one of Cattelan’s most profound and polarizing pieces.
Exploring the Origins of Evil
Through Him’s childlike form, Cattelan compels viewers to confront difficult questions: Can evil exist in its purest form, or is it shaped by circumstance and nurture? By portraying Hitler as a vulnerable figure, the sculpture probes the boundaries of empathy and whether society can—or should—separate an individual’s humanity from their atrocities.
Society’s Reckoning with the Past
Beyond its shock value, Him serves as a stark reminder of history’s darkest chapters. It challenges audiences to consider how society acknowledges and processes collective guilt and trauma. Is it possible to forgive, or does such an act risk diminishing the suffering of victims?
Cattelan’s Him is not simply an art-world provocation; it is a mirror reflecting humanity’s ongoing struggle to understand the nature of evil and the burden of historical atrocities.