x 157 cm2 global durability -
by Patrick Hoenninger, Bochum.
Performatively milked and digitally bashed by monochrom (probably the most important consumer group west of the Elbe).
breakfast table and other battle sites of the packaging struggle between
Burma and Belgium are the real exhibition sites of everyday consumer
design, packaging nutrition and luxury foods, filling garbage sacks, but
also focusing our aesthetic sensors. There is also a delivery of
literature for the table, offering the possibility of studying a
language in foreign contexts.
the collected examples not only come from shop counters and were saved
from garbage death but have also been discovered in ditches and sinks
during a situationist meandering through the world with trained eyes,
there is also a link to securing evidence.
what can not be denied is the relation to Pop Art. Looking at the
TetraPaks reminds of some Pop Art classics. This relation not only
exists in an aesthetic but also in a social dimension, reminding of the
“Work of Art in the Age of its Mechanical Reproduction.” The social
aspect also becomes relevant upon working on a collection where the
social sculpture in Beuys’ sense lives from participation, through the
interest caught from others.
the collection exemplifies two archetypal forms of behavior: hunting and
collecting. Both are linked to eagerness and enthusiasm and are meant to
be rewarding and fulfilling.
Ultra-highly heated exhibition opening
with speakers and protein shock
Sept. 13, 2002, 7 p.m. Museumsquartier Vienna, electric avenue
the exhibition is sponsored by Tetra Pak.