Talk:Wrapped Reichstag

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Commons files used on this page or its Wikidata item have been nominated for deletion
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Metaphysics of a site-specific work of art
Just because an artwork no longer is (part) of a permanent installment doesn't mean it's not an existing artwork when the installment closes. You have memories about the work by art subjects; you have all the documentation (etc). You don't do that for a sculpture or painting post-exhibition so why do it with installations or site-specific art. Site-specific art specifically often comes with a component that is permanent (existing in the gallery space (non-site)). Same goes for vandalism on an existing artwork - the original artwork is just replaced with a new one (building upon the original work/merges the original work with the new modification).

Why is it that for example a comedy work (sketch) is supposedly absolute even after its television screening but not a (site-specific) work of art (after its showing)? 31.208.212.102 (talk) 21:44, 7 May 2022 (UTC)


 * Maybe that's what Cattelan means w/ his artpiece Comedian. Even if the banana can be changed the question arises of whether the work is the same if it's key component is substituted (is it still the same work; is it still an existing work of art). 31.208.212.102 (talk) 22:07, 7 May 2022 (UTC)
 * I think it matters more that it's temporal rather than an installation. Christo and Jeanne-Claude works are one-time events, so they happened in the past, whereas Comedian is a work that can be installed elsewhere in the future. Other performances may be either in past or present tense based on whether the performance is meant to be replicated (such as a musical or Seedbed) or a one-time event (like How to Explain Pictures to a Dead Hare or a sporting event). I'd wager that Wrapped Reichstag is the latter. For context, MOS:TENSE is the relevant Wikipedia policy here. czar  01:29, 8 May 2022 (UTC)