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(1) To which tends oxo experience beyond any story, any details of any event and circumstantial [cf. Library, Figure, Harmony, Design].
(2) product superstore unintentionally containing the signature of an artist on its packaging by the principle of logogriph or homonymy. The revelation of this signature is obtained by removing unnecessary signs. Example A is a pack of Kleenex HyperObjets art the painter Klee. [> Oxo 5].
[Appendix]
objects of consumer goods sold in hypermarkets and department stores have become works of art, according to the principle of inevitable readymades by Marcel Duchamp invented (cf. the dryer bottles purchased in BHV). Then, the artworks have become objects of mass consumption, when the public began to idolize the art and consume its merchandising (see T-shirts, ties and other reproductions sold at the Louvre).
In this context, the hypermarket is part of art as a form of radical art market. The hypermarket in the art, in fact, no longer makes the difference between the object of consumption has become a work of art and works of art became an object of consumption. The HyperObjets art (any object in the superstore of art) is essentially a work of art and objects of consumption. It is neither one before the other or the other before one, it is both, simultaneously and from its inception.
Unlike the readymade, the HyperObjets art, a perfect synthesis of the object of consumption and the artwork, does not obtain the status of works of art by the artist's wishes, but by the involuntary, the manufacturer. Just as he fails to obtain its status as an object of consumption by the will of the art market but that, once again, but this time voluntarily, the manufacturer who also makes no claim Art. The characteristic of the HyperObjets art lies in fact in that it has its dual status by the natural occurrence of a signature artist of immediate or encrypted on its packaging, signature seen in public but often rendered unreadable by profusion signs that cover the surface of the object (see the complexity of packaging in supermarkets). This environment
parasite gives the signature of a semantic content and commercial advertising (this is usually a trademark, a registered trademark with the INPI and semantically filled by a series of advertising campaigns) . Simply "erase" the overflow of signs that the artist once again become legible signature that is revealed and the natural status of the object. The erasure of the signs is disruptive to cover with a neutral color (the background of the object for example) the surface of the work, preserving the signature of an artist naturally. This practice does not transform into art object which in any case already is so intrinsic it has only one objective information revelation. It's sort of the necessary prelude to decoding the object. When this revelation is assimilated by the viewer, the art HyperObjets no longer need this layer of paint and found definitively revealing its status, whether exhibited or sold in a gallery, museum, shop or a supermarket, and whatever the number of copies. Thus
HyperObjets art can be understood by the general public as it has never ceased to be: a true work of art consumer with a true artist signature guarantor of authenticity. And for a price that is very affordable. PLC + K
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