In the modern society of spectacle, where we are losing the sense for reality, the media image has successfully replaced the direct impact of the artistic work itself and exhausted our capability of perception and, therefore, the form and content may differ, and the genuineness of the experience seems only genuine in production of the spectacle.
The artistic representation, today equated with the contemporary visual culture, is defined by epidemic circulation of transformed and retrained images that are ready beforehand and taken out of the mass culture or other forms of tradition. It strives not only for the viewing in the sense of labeling and leaving the vital memory trace but also for the media absorption of the meaning of the logo as the symbol of the merchandise fetishism. That, at the end, leads to the erasure of the image that is preserved only as a proper sign in the new labeling chain.
The strategies of marketing are being appropriated in the context of art. The small sculptures are made of sugar and presented in a designer package. The image of the Michelangelo’s David is being consumed by the audience. In this process the image becomes gradualy deformed and finally formless. The artwork becomes part of the audience.