
JLG/JLG: Self-Portrait in December
1995

2016
TV-14Director
Maura Axelrod
Runtime
65 minutes
Average Rating
No ratings yetSynopsis
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?
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film offers a moderate score here. While the narrative focuses on an intimate portrait through ex-girlfriends and family, it lacks explicit non-cisnormative identity markers.
Gender Representation
The documentary provides meaningful representation by centering female voices. By using ex-girlfriends and family to deconstruct the protagonist, it disrupts traditional patriarchal narratives of the solitary male genius.
Racial & Ethnic Diversity
The film appears to focus heavily on the European contemporary art circuit. There is no explicit evidence of a non-white majority cast or diverse racial representation.
Religious & Cultural Diversity
The film scores highly by focusing on the deconstruction of Western institutions. It celebrates subversion and critiques religious authority through the artist's provocative work.
Disability Representation
The film provides no specific information regarding the depiction of physical, neurodivergent, or mental health conditions.
Strengths
Areas for Improvement
AI Analysis
The documentary functions primarily as a study of institutional subversion rather than a broad demographic survey. It succeeds in challenging traditional power structures by centering female perspectives to dismantle the myth of the male genius. However, the film remains largely tethered to the Western art establishment. This focus limits its racial and ethnic diversity, as the narrative operates within a specific European cultural circuit. Ultimately, the film's strength lies in its cultural critique of religious and political iconography, even as it lacks explicit markers for LGBTQ+ or racial intersectionality.

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