In his rack room of Bottle Racks (Hérisson), Pierre Granoux presents excerpts from the image index and title register of his forays through the digital bazaar. As a find of modern art, the bottle dryer is collected, exhibited, numbered and spelled out in countless variations via the Internet.

As a stack catalog, the list of titles in his Readyweb archive forms an index for empty drying warehouses — but also a checklist for the art of misappropriation. Since Duchamp introduced a bottle dryer into art in the form of a readymade, every variation of the exhibition of a readymade says: This is not a bottle dryer.

Ever since Granoux introduced readymades in the form of read bottle dryers into art, every variation of artistic treatment of a bottle dryer says: this is not a readymade. Granoux is not a modernist. And as a work of contemporary art, Pierre Granoux’s artist’s book shows that modernist collections are more than just a place to store empty bottles that have been drained to the last drop. (Robert Korokowski)