When Marcel Duchamp exhibited his urinal in 1917, our conceptual ability was stretched to its limits. The visual arts were changed forever. In his book -Playing to the gallery- Grayson Perry describes the artworks of great artists like Damien Hirst, Jeff Koons and Takashi Murakami as luxurious brands. He calls these artworks consumer goods.

In line with Duchamp, Murakami had a big show at the Museum of Modern Art in Los Angeles, and he actually had a real Louis Vuitton shop in the gallery, selling handbags as part of the exhibition. With this work of art he tested the boundaries and crossed them, as Duchamp did.

Using the Duchamp and Murakami concept I sent in, for Fidem 2016, a perfect bronze medal with the title,

-Made by somebody else-. The medal was indeed made by somebody else, namely Carla Klein.


In physical form this medal meets the criteria of medal art perfectly. Also it’s bronze appearance fits perfectly in this years Fidem’s theme. -bronze- But it was rejected.


As well as the link to Duchamp, this medal has a post-modern aspect in showing how an art-medal is used in the real world. Much more than other works of art the medal has a function as a gift or a prize. In this form the medal is moving from one hand to another, from one possessor to the other, without having been made by any of its possessors, even though it is used as a personal gift.

More than other forms of art, because reproduction is common in medal art, it touches lightly on what Perry describes as luxurious consumer goods.


The owners are far removed from the creators. In medals there is a long history of objects being made by somebody else. Medals are commissioned by somebody else, cast by somebody else, owned by somebody else and then given to somebody else. Then somebody else collects them. –Hence my title, made by somebody else-


This medal positions itself in the centre of the medal art discussion that has been conducted for the last 10 years in the Netherlands. Carla Klein, who made this medal, became the controversial centre of it. As a result, her medals, until now, were not shown at a Fidem exhibition, or anywhere else in the Netherlands, for a decade.


The complicated multiple layered interpretation of this medal makes it central to conceptual medal-art, while the physical presence remains just like any other medal.

MADE BY SOMEBODY ELSE