The second cycle of Energy Objects is partly about use value. It's about the crude beginnings to a meaningful craft. These objects have the audacity to be playful amidst a generally melancholic art practice. Documentation is no longer uniform, but domestic and shoddy. This reflects changing trends of display. This is like a really fun project y'all. Maybe this is not a project anymore.
Some of the objects for this cycle were produced together with Anni Puolakka and were used in a play by Vibes at Baltic Circle International Theater Festival. I've been trading objects for books (so far: one object to Ida Lehtonen for sending me a copy of Gibson's Neuromancer, one object to Spitzenprodukte in exchange for his debut novel Chubz, one object to Julieta Aranda for a 'The Internet Does Not Exist' baseball cap, one object to Micah Schippa for sending me a book on goth culture). Objects might be sold or given away. They'll survive.
This cycle also introduces pre-9/11 looking culturally knowing tech-optimistic obvious/oblivious sculptures with ceramic handle-tumors. Why? Is casting everyday objects in resin the new landscape-painting-in-Provence? #aspirin #dreadlocks #vitaminD #usbsticks #earplugs #versacepatches #microSD #casting #technical #striveforart
Energy Objects are objects that don't have relative value. They can't be sold or traded for other objects. It is possible to gift them if one expects nothing in return. The objects contain life-affirming energy. Why would you use qualitative methods of assessment? Does it matter if the objects 'look cool' or not? Images of the objects circulate as artworks. The objects themselves don't circulate. They stand still and refer to higher planes. Documentation, in this case, is a form of sermonizing. Your child could've made these, but didn't.