452 x 157 cm² global durability -
probably the most important milk Tetra Pak ^® cover collection east of the Ural

focus animal

The so-called globalization is a big and barely graspable phenomenon. Wo/man can see this in various caricatures: actually there are none. Totally in contrast to the corruption scandals, there are many caricatures. One person hands over to the other an over-dimensional suitcase with dollar bills hanging out of it. Try it with globalization: The Hoenninger collection exemplifies the globally de-bordered capital. The standardized format of the TetraPak offers a world-wide given frame for creative variation, which is allowed to become visible on the 9,5 by 16,5 cm large front of the milk product.

The breakfast table and other battle sites of the packaging struggle between Burma and Belgium are the real exhibition sites of everyday consumer design, packaging nutrition and luxury foods, filling garbage sacks, but also focusing our aesthetic sensors. There is also a delivery of literature for the table, offering the possibility of studying a language in foreign contexts. 

Since the collected examples not only come from shop counters and were saved from garbage death but have also been discovered in ditches and sinks during a situationist meandering through the world with trained eyes, there is also a link to securing evidence.

Moreover, what can not be denied is the relation to Pop Art. Looking at the TetraPaks reminds of some Pop Art classics. This relation not only exists in an aesthetic but also in a social dimension, reminding of the “Work of Art in the Age of its Mechanical Reproduction.” The social aspect also becomes relevant upon working on a collection where the social sculpture in Beuys’ sense lives from participation, through the interest caught from others.

Basically, the collection exemplifies two archetypal forms of behavior: hunting and collecting. Both are linked to eagerness and enthusiasm and are meant to be rewarding and fulfilling.