New York’s Wall Street has its bull. Milan’s Borse has its finger.
In 1989, Arturo Di Modica brought his Charging Bull to Wall Street intending that it be placed outside the New York Stock Exchange. It was an expression of gratitude for a country where he had thrived as an artist. The Bull didn’t stay where it belonged. It was moved two blocks south.
In 2017, the Bull got company. Kristan Visbal’s Fearless Girl was placed in front of the Bull. By an asset management company. In time for International Women’s Day. To advertise an index fund characterized by women investors and investments in women.
Di Modica objected. The girl facing the bull changed the meaning of his sculpture. Di Modica was not the only one objecting. The girl appeared willing to stand up to Wall Street, to the bankers and traders, to capitalism. About a year later, the girl was moved. Capitalism won.
In 2010, Maurizio Cattelan’s Finger, titled L.O.V. E., was installed in front of Milan’s Borse, Milan’s stock exchange. It was part of a retrospective to honor Cattelan’s work. Intended to be temporary, the finger is still there. A mockery of a Nazi salute? Cattelan making a public display of his contempt for bankers and traders?
A fresh look sees the finger is facing away from the Borse. Cattelan lets us know what the bankers and traders think of us. Capitalism is winning.