Art, but not as we know it

Did you see that at an art museum in the Netherlands, an installation came to a sticky end?

The art display, All The Good Times We Spent Together by Alexandre Lavet, who is a French artist, consists of two dented beer cans left on the floor of the lift of the LAM museum in the Netherlands.

But the installation was thrown away by a technician who did not realise that it was an exhibit.
Fortunately it was recovered.

Being desperate to succeed in the art world, I created this exhibit and submitted it for critique.

This is the response I received from a well known art critic.

Quote:

“Ah, yes, “Void and Reflection: The Dichotomy of Absence” —a masterstroke in conceptual minimalism. The juxtaposition of the empty Marmite jar, with all its cultural resonance and divisiveness, against the pristine, reflective can is nothing short of sublime. The Marmite jar, of course, speaks to the nature of consumption, both physical and ideological—its emptiness a metaphor for the polarizing forces that shape modern identity. Love it or hate it, it forces the observer to confront the abyss of preference.

The gleaming, untouched can beside it operates as a foil, an icon of industrial precision and the sterile potential of modernity, yet also hollow. Its glossy surface, unscathed by human interaction, reflects not only the viewer but society’s own emptiness, echoing the vacuous pursuit of materialism. The tension between the two objects—one raw, lived-in, the other untouched—suggests a critique of both personal and collective existence.

Together, they encapsulate a profound meditation on absence, presence, and the commodification of experience. In its austerity, the installation becomes a mirror to our own existential condition, urging us to ask: what does it mean to consume and, more provocatively, what does it mean to be consumed? Quite, quite remarkable.”


I think I may have arrived