Museum Personnel Accidentally Throws Away Art Pieces Designed Like Beer Cans, Misidentifying Them as Rubbish

### When the Ordinary Becomes Art: The Tale of Alexandre Lavet’s “Beer Can Sculptures” Almost Ending Up as Rubbish

In the contemporary art landscape, there exists an intriguing friction between the ordinary and the surreal, the commonplace and the remarkable. Artists, from avant-garde trailblazers like Marcel Duchamp, whose installation of a plain urinal named *Fountain* challenged artistic norms, to pop art icon Andy Warhol’s *Campbell’s Soup Cans*, have perpetually reshaped the definition of “art.” Among this lineage is French artist **Alexandre Lavet**, who connects the familiar with conceptual artistry through his hyperrealistic beer can sculptures.

What makes Lavet’s creations particularly captivating is a recent real-life event that almost led to his heartfelt homage to friendship and camaraderie—entitled *All the Good Times We Spent Together*—being mistaken for garbage and nearly discarded.

#### The Illusion of the Everyday: “All the Good Times We Spent Together”

Lavet’s piece, first showcased in 2016, includes two elaborately handcrafted beer cans that have been expertly painted to mimic the typical sight of empty, crushed cans often found tossed aside after social events. His medium—tiny sculptures painstakingly painted with acrylics—crafts the illusion of a genuine, used beer can. This artwork transcends mere representation; it serves as a complex reflection on human connection, shared experiences, and friendships formed in moments of togetherness. As Lavet articulated, his sculptures are a “homage to the streets of Brussels, artists’ studios, friends’ homes, celebrations, and art openings.” These beer cans signify more than waste; they are emblematic tokens of those transient yet significant moments we share with others.

Displayed in the **LAM museum** (Lisser Art Museum) in the Netherlands, Lavet’s *All the Good Times We Spent Together* found itself positioned on the floor inside an elevator, an unusual location aimed at illustrating one of the primary themes of both the artwork and the museum—surprise.

The museum takes pride in featuring pieces in unexpected contexts, a curatorial approach that invites visitors to reevaluate their assumptions regarding space, art, and aesthetics. As museum director Sietske Van Zanten notes, “By placing artworks in unforeseen locations, we elevate this experience and keep visitors alert.”

#### A Case of Mistaken Identity: Art or Trash?

Regrettably for Lavet and the museum, this whimsical arrangement almost led to a mishap when a conscientious museum maintenance staff member accidentally recognized the artwork as actual refuse. Like many individuals dedicated to keeping public areas tidy, this worker was simply trying to maintain the museum’s cleanliness. He collected the “garbage” and disposed of it, entirely overlooking the artistic significance.

What ensued was a close call—Lavet’s artwork was on the brink of being permanently discarded when the museum’s curator, **Elisah van den Bergh**, realized it was missing and raised the alarm. She hurriedly retraced her steps, and just before the dumpster was emptied, Lavet’s cans were triumphantly retrieved from a trash bag. Despite the incident, no lasting damage was incurred, and the artwork was safely reinstated in the museum’s collection.

#### Art in Unconventional Spaces: Balancing Risk and Reward

This event at the LAM museum underscores the inherent tension between contemporary art and the environments in which it is displayed. While the museum’s aim to surprise visitors with unconventional installations enriches the interactive experience, it also risks obscuring the distinction between art and ordinary items. In a gallery setting, a pedestal or frame indicates that an object is art, prompting reflection. However, in more casual or accidental environments, scrutiny must be more keen.

This occurrence highlights not only the delicacy of Lavet’s hyperrealistic creations but also the evolving nature of art in today’s landscape. As museums embark on bold endeavors to challenge visitor perceptions, they may inadvertently expose works to misinterpretation and possible mishandling—rendering these installations both exhilarating and precarious.

Museum spokesperson **Froukje Budding** stressed that while the cans have temporarily been placed on a traditional pedestal for their “rest” after this near-disposal, the museum is actively exploring innovative ways to showcase them in similarly unconventional spaces to preserve the element of surprise. However, identifying a venue that balances delight and risk will necessitate careful curation.

#### A Celebration of Friendship and the Mundane

Although this episode could have resulted in an art disaster, it also sheds light on what makes Lavet’s work so exceptional—the way it plays with concepts of perception and recognition. His sculptures hold power precisely because they navigate between categories; they challenge the viewer to ponder their reality. Are these simply discarded cans, or something more?

Lavet’s tribute forms part of a broader postmodern exploration that