Stefan Bohnenberger‘s so-called “Pommeskreuze” (French Fry Cross) and the “Pommes d’Or” (Golden French Fry) have written history: art history and legal history.
A Google search using the key words “Bohnenberger” und “Pommes” leads to c. 13,700 results. These are especially press reports on the process before the Bavarian District Court in Munich. The question left open by the, as to whether a cross comprised of two dried-out French fries is or is not art, is generally not discussed here directly.
Bohnenberger goes one step further. It is no longer the more or less symbolically loaded readymade – the drawings and original crosses made of French fries – which alone comprise the work of art here, but also and especially the discourse surrounding the old questions – what is art and what claims and responsibilities does the artist have – are transformed into art as a result of the legal process. The frameworks, i.e. the spatial and thematic context, in which objects are displayed, are once again central: What was once a mere reproduction of the records of a legal case is now itself art – as an installation hanging on the wall, as well as in the form of an edition with the title “Pommeskreuz”, consisting of a copy of the records of the case and real French fries in a tin box.