.how does the art institution determine the value of a work?_
.since the viewers also form a part of that institution, how can a work of art possibly exist independently of both its use/exhibition value (if such a thing really exists), and its exchange value created by museums, galleries and collectors? _
.how can its value be singularly inherent in itself?_
.moreover, following it being exhibited, how can this value increase, even independently of the dynamics of the exhibition?_
.at the end of the exhibition, how does it become the work with the highest exchange value in the world?_
.in order to liberate it from its exchange value and protect his/her policy, would the artist be prepared to (potentially) damage/destroy this work of art with the highest exchange value in the world when the exhibition comes to an end?_
.after the exhibition has concluded, if this work of art was to be preserved in perfect condition as a whole, how is it that in a year’s time it would lose its self-proclaimed value, to once more become dependent on a value to be ascribed to it by the art institution?_
.for the “second exhibition” at arter – space for art, istanbul, curated by emre baykal, .-_-. “invested” the entire budget .-_-. had been allocated on a single work; .piece of luck: possibly about to become world’s most valuable work of art_
.-_-.played games of chance with .-_-.’s entire budget, and until the exhibition comes to an end, no one, .-_-. included, shall know the results thereof.
the value of this work is now entirely independent of being exhibited, of the response of the viewers, and of interest from potential buyers. just like any other work, the one for whom its value carries the greatest significance is its author. the value it shall gain at the end of the exhibition, and not as a result of being exhibited, is entirely independent of the institution of art. will the viewers still wish .-_-. luck?
.piece of luck: possibly about to become world’s most valuable work of art_ is an installation consisting of 33,000 “Milli Piyango” lottery tickets. There are 11,000 “Sayısal Loto” tickets draw of 27 November 2010 (opening night of the exhibition); 11,000 “On Numara” tickets draw of 29 November 2010; 11,000 “Şans Topu” tickets draw of 1 December 2010. all of the 33.000 tickets are placed on a table upside down in packs of 500, so that the numbers on the tickets cannot be seen. there are 66 packs in total and there is a plexiglas covering the table. draw dates of all the tickets are after the opening of the exhibition. so no will know the amount of the probable lottery prize for all the tickets during the time of the exhibition which makes this work “possibly about to become world’s most valuable work of art”_