On November 20th, Maurizio Cattelan’s artwork, Comedian, once again stunned the world when it sold for $6.2 million (approximately KRW 8.67 billion) at Sotheby’s in New York.

This event transcends mere sensationalism, offering a philosophical lens to reassess how contemporary art functions within the capitalist system.

The Controversy: From Miami to Seoul

When Comedian debuted at Art Basel Miami in 2019, its simplicity sparked instant debate. The artwork, consisting of a banana duct-taped to a wall, became a lightning rod for controversy when a performance artist consumed the banana during the exhibition. The situation was resolved by simply replacing it with another banana.

Similarly, in early 2023, Cattelan’s Comedian was displayed at the Leeum Museum of Art in Seoul during his solo exhibition, “WE”. The piece again made headlines when a fine arts student ate the banana on display. This act, which some interpreted as a protest, was treated as a lighthearted incident by both the artist and the museum.

The Dual Nature of Art: Spiritual Value vs. Material Commodity

Comedian lays bare two fundamental attributes of contemporary art. On one hand, it reflects the imaginative and introspective qualities of art’s spiritual value. On the other, it embodies the physical and consumable nature of art as a material object.

While the piece is composed of ephemeral materials—a banana and duct tape—it gains profound meaning once placed within the context of art.

This notion aligns with Arthur Danto’s concept of "indiscernibility," wherein art can no longer be distinguished by visual aesthetics alone. According to Danto, art inevitably becomes conceptual.

Through this lens, Comedian transcends its mundane components to claim its identity as art. Yet, as it enters the capitalist marketplace, it is simultaneously reduced to a commodity. This duality risks diluting art’s purity and depth, undermining its role as a medium for exploring the essence of human existence.

The Commodification of Art: Distorted Essence and Inverted Values

Capitalism, by design, transforms human desires into material commodities for profit. Comedian epitomizes how this system infiltrates art in the most extreme way. Its $6.2 million auction price does not merely reflect artistic value but serves as a symbolic reminder of how art can be exploited as a tool for capitalist speculation.

The banana in the artwork is no longer just a banana—it has become a product of capitalist imagery and symbolism. This transformation vividly illustrates how art struggles between reality and simulation, exposing the process by which intrinsic artistic value is overshadowed by commodification.

The commodification of art fundamentally distorts its essence and creates three critical consequences:

1. Denial of Creativity

The subjugation of art to market logic restricts creative diversity. Artists are pressured to conform to commercially viable forms and themes, stifling experimental approaches. This homogenization erodes the intrinsic diversity of art.

2. Art as a Tool for Capitalist Systems

Comedian serves as an extreme example of how art becomes an instrument for reinforcing capitalist systems. Paradoxically, the artwork validates and perpetuates market structures, weakening art’s capacity to deliver social messages and critique. Instead, it becomes a medium for amplifying capitalist ideology.

3. Loss of Spiritual Value

While art inherently embodies human spiritual value, the capitalist market reduces this to speculative consumption and material desires. This not only diminishes art’s meaning but also distorts and objectifies the essence of human existence.

Reconsidering the Essence of Art

Art, by its very nature, is not a commodity. It serves as a vessel for human imagination, philosophical reflection, and existential values. When art succumbs to capitalism, it inevitably denies humanity’s spiritual essence. This raises profound questions about the future of both art and humanity.

Comedian is a stark reminder of how capitalism consumes and distorts art, but it also carries an urgent warning: art must reclaim its fundamental value. Cattelan’s infamous banana challenges us to confront the dilemmas of contemporary art and consider its future. It will remain a provocative statement, compelling us to rethink the purpose and direction of art in an era dominated by commodification.

Jay Jongho Kim graduated from the Department of Art Theory at Hongik University and earned his master's degree in Art Planning from the same university. From 1996 to 2006, he worked as a curator at Gallery Seomi, planning director at CAIS Gallery, head of the curatorial research team at Art Center Nabi, director at Gallery Hyundai, and curator at Gana New York. From 2008 to 2017, he served as the executive director of Doosan Gallery Seoul & New York and Doosan Residency New York, introducing Korean contemporary artists to the local scene in New York. After returning to Korea in 2017, he worked as an art consultant, conducting art education, collection consulting, and various art projects. In 2021, he founded A Project Company and is currently running the platforms K-ARTNOW.COM and K-ARTIST.COM, which aim to promote Korean contemporary art on the global stage.