5693. Submitted on 2017/1/5, 13.41 h by :
Veertienduizend ballen
Mijn zoontje van 4 kan dat ook.
Mijn zoontje van 4 kan dat ook.
Sorry...schaamteloos gekopieerd van wikipedia zonder enige aanpassing.
Twee vragen:
- Waarom wordt dit serieus genomen?
- Waarom is de boswachter op die site?
"Waarom wordt dit serieus genomen?"
Ssst! Dat is het grootste compliment voor een conceptueel kunstenaar!
1. wrlrd commented on 2017/1/6, 14.55 h:
First produced in 2007, the FedEx works are made of either laminated glass (clear or two-way mirror) or raw polished copper constructed to the size of standardized FedEx shipping boxes. The works are then shipped to their destination by FedEx’s Express service. The glass works are shipped inside FedEx shipping boxes of the same size, which act as both part of the work and a support for the glass portion when exhibited. The glass works are shipped unprotected, so that cracks appear with each successive shipment. The polished copper works are shipped without a standard FedEx box, so that any handling by the courier imprints onto the surface of the work by oxidation. The FedEx waybills, customs documentation, and any shipping stickers added to the box are considered part of the work.[17][18]
Beshty states that he was “initially interested … because they’re defined by a corporate entity in legal terms. There’s a copyright designating the design of each FedEx box, but there’s also the corporate ownership over that very shape. It’s a proprietary volume of space, distinct from the design of the box, which is identified through what’s called a SSCC #, a Serial Shipping Container Code. I considered this volume as my starting point; the perversity of a corporation owning a shape—not just the design of the object—and also the fact that the volume is actually separate from the box. They’re owned independently from one another. Furthermore, I was interested in how art objects acquire meaning through their context and through travel, what [Daniel] Buren called, something like, ‘the unbearable compromise of the portable work of art.’ So, I wanted to make a work that was specifically organized around its traffic, becoming materially manifest through its movement from one place to another.”[19] The curator and writer Nicolas Bourriaud describes Beshty’s work more generally in a text included in Beshty’s monograph Natural Histories, “ … as being made up of images or objects that ‘remember’ their previous or initial state, that have memorized or archived their course. The FedEx series is an explicit example … the form is literally produced by its incorporation into a system of distribution (FedEx), and through its capacity to record a trajectory.”