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The use of consumer objects in art is a practice that dates back more than a century. Initiated by Marcel Duchamp with his ready-mades, this approach gained momentum in the 1960s, notably with Andy Warhol and his silkscreen prints of Campbell’s soup cans, emblems of a reflection on consumption and reproducibility. Shortly afterwards, John Baldessari appropriated film images through collages and montages, questioning the relationship between image and language and transforming visual communication into artistic material. The common thread between these approaches is that they start from the ordinary in order to question its construction.
The exhibition “The Ordinary of the Ordinary” follows in this post-Warholian tradition, reflecting on mass consumption and production. It brings together works by Clémentine Adou (b. 1988 in Paris, lives in Paris), Milena Büsch (*1980 in Weingarten, lives in Berlin) and Michel Majerus (b. 1967 in Esch-sur-Alzette, d. 2002 in Niederanven), thre…
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The use of consumer objects in art is a practice that dates back more than a century. Initiated by Marcel Duchamp with his ready-mades, this approach gained momentum in the 1960s, notably with Andy Warhol and his silkscreen prints of Campbell’s soup cans, emblems of a reflection on consumption and reproducibility. Shortly afterwards, John Baldessari appropriated film images through collages and montages, questioning the relationship between image and language and transforming visual communication into artistic material. The common thread between these approaches is that they start from the ordinary in order to question its construction.
The exhibition “The Ordinary of the Ordinary” follows in this post-Warholian tradition, reflecting on mass consumption and production. It brings together works by Clémentine Adou (b. 1988 in Paris, lives in Paris), Milena Büsch (*1980 in Weingarten, lives in Berlin) and Michel Majerus (b. 1967 in Esch-sur-Alzette, d. 2002 in Niederanven), thre…
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