Productivity and growth are considered common commandments also of the artist’s working on their “thing”. Time for dissidence? (Does I not grow anymore?)

They unleash a willful activity that is the opposite of Pavlov’s reaction, vivid counterproduction, self­ achievement. If they arbitrarily do so, they are tearing something alive around, just as Achilles does with the murdered Hector…

You will see the probably last photo showing Schroedinger (original) as well as the experimental set­up into which he transformed his kitchen (an eternity), found in the abandoned apartment. Schrödinger was no longer seen.

A project that sees itself as an attitude of getting involved with a supposed public, and anticipates an imaginary morphology in the case of a communal uprising. Somehow the exhibition celebrates itself as an event, the installation remains performative.

Our goals were, we agree, openly naive and outlandish: we wanted to create significant encounters based on the language of practice. The scale (semi-industrial, craft, literal, domestic or poetic) was not of importance; the sculptureness of research lay in our sneaking onto the privileged pedestal of sharing the language of making things…

Given the awkwardness and naivete caused by the attempt to navigate the new words of the unknown language, Stroj takes the opportunity to go back to being a neophyte, extending his formula for (language) learning into a formula for (sculpture) production. This with the aim of articulating a language, that is not literal or metaphorical,…

As we walk along their monument, recreationally, they are adapted and rebuilt, lapsed or demolished ­ and finally allow us not to see them in the context of the world of work. Redundancy on the one hand, free time on the other hand ­ but as Marx already diagnosed, idleness is not included.

A first exercise to make a place, or an object, speak – or express those drives, forces and vibes that are to be sensed, not just in the air. The magic of such a mediation: to fully become somebody else, again.

And of course are all those words and names given to those things and events a provisorium, and of course also our mortality means something. Hope to find the time to correct soon!

The exhibited works illuminate a personal story, one which is revealed in terms of both a paradox and an intimate narration in which the artist’s personal experience becomes comparative in a trans-figural way and which may be read in relation to several aspects of European economic history and late 20th century Italian literature.