Almost 100 years after Duchamp's urinal and after Puni hung a hammer on one of his canvases, rebus considers the recontextualization and re-appropriation of daily use objects or images as an effective practice for delivering a subversive and critical message.
The use of industrially manufactured items rather than handmade goods or, as in the tradition of art, of objects, surfaces and photographic images made directly by the artist, represents a method and a system which in waves is ever present through the last Century to the present day. The object in question can be presented by itself, assembled with other objects, incorporated into a “traditional” painting or sculpture, manipulated, distorted, or framed within a purpose-made structure. In all these cases and any other variation, it is the context of the exhibition space which above all causes the work to be seen, enjoyed and consumed as a work of art.
