Catalogue of simple machines
Irca Solza, 2013-2019.
The catalog of simple machines is a list of artistic strategies, in which each strategy is presented in the form of a machine: an object that performs a minimal action either independently or through the viewer. These actions are extremely monotonous and mechanistic, and the materials from which these Frankenstein machines are assembled are extremely a-romantic and ordinary: everyday food, cardboard, paper, text.
At the formal level, all the machines assemble together around the journey of the great martyr Irina, which we can trace from the beginning to the end in three “steps” according to the three-part division of the catalogue. Machines are sometimes accompanied by textual descriptions that are also “assembled” rather than created, from everyday life, quotes, and various remnants.
STEP #1
(Smells like damp soil)

Silence producting machine
50x25x25. Cardboard, paper, printing.


Great martyrs were daughters
of rulers and other
men overshadowed by power
high ranking officials
and generals
rich daddies
like Peskov's daughter, but with one nuance:
in order to avoid sexual abuse,
so common in those patriarchal societies
they surrendered to Christ
with all the giblets
their coddled bodies
with all their guts
poured with tar
severed feet
or, say, breasts and fingers.

All this rapidly like
their subscribers in instagram,
ordinary
martyrs.


Catamaran for the dead

Wallpaper, print, size varies. It is placed on the wall or on the floor with an excess: so that a fold-wave is formed.


If you put a dead person on a catamaran, fixing its feet on the pedals and installing a motor that will rotate the pedals, and launch it to swim in the sea, the observer on the coast will be completely sure that the person riding the catamaran is alive.

Corpse / soul

56x36x15. Papier-mache, acrylic, liner.


Appropriation

22x14x14. Glass jar, jelly, a souvenir pen with the inscription Paris, water, acrylic.

I.

.. by dying
it will bring
many fruits.


I sold my soul to the devil to go to Paris,
where in the dirty lecture hall, among papers and kisses,
students wrapped in blankets were listening to
still alive Louis Althusser.

thing becomes thinner when you call it a word

he, however, has already lost the last remnants of any methodology
and talked more about soil science, proper grafting and budding


Image

17x9. Cardboard, hair.

Untitled

100x60x40. Frames, plastic, cardboard.


Cradle

60x35x20 Expanded polystyrene, cardboard, earth, fabric, lace. When rocking the soil spills out, showing the bottom.


soil buried in soil
leaking through the name
chernozem
fat of miracles
will fall as a seed


to a permanent field
of self-relation procedures

Untitled (merry-go-round)

100x60x20 Bamboo, papier-mache, wood, paint, wire, plasticine, chicken feet.


Day and night
40x60x20 Bread, onions, cardboard, varnish, wood, expanded polystyrene. At rotation there is a change of day and night.


dark shrasters correspond to heavenly cities
antihuman underground cities with slavish morality
engineers, programmers, managers
even artists and sculptors
(something to be proud of, after all, the birthplace of
—————————————————————————————— Constructionism)

political system is Satanocracy
then you yourself know all

in the end, not a rose will bloom on the body of the world
but a cracked onion
a loaf of bread squashed by a boot


STEP #2
(Smells heavily like tar soap)

Shoes for shining trails

70x30x10, 2 pcs. Rubber slippers, glass, acrylic, wire, acrylic paste, varnish.



in the temple of Adidas-on-the-Blood
inside

smoke emanating
and incoming
from dilapidated roofs
possessive pronouns
Hey you! Whoa, look!
bus rides to 'Snegiri'
clear, black and white
like last year's news
and the men handing over the fares
from monday to friday
are passing like cloned aspens

and outside
take look
one two three
thou art

neither heaven nor law
he who speaks will eat
the cross


Gulchehra's flat heads

Head size 46x30x4. Plate, cardboard, liner, knife, paper, silk, bar. Inscription on the knife says: "All this has no value".


Untitled (To Cathy Wilkes)

63x42x5. Glass, tongs, acacia thorn.

Tzar's shit

10x10x10. Can, spoon, shit, gold, paper, print. All are welcome to degust.


Glas of revolution

60x15x12. Cardboard, plaster, wire, papier-mâché, plastic, bread, crumb glass, beans, cup.
Instruction

1. Take one bean from the cup.
2. Throw the bean into the "head" of the machine through openings in the grid.
3. Listen.
4. Now try to guess which of the boxes at the bottom of the car (from one to four) hit the bean.
5. Check to see if you are right by opening the desired box.
6. If you guessed it, go back to step 1.
7. If you have not guessed, push the remaining boxes one by one to find out which one of them has hit the bean.
8. Return to step 1.

Simple still life with hand and bread

40x15x30. Wood, bread, cardboard, wire, photo.


Eternal spring

36x26x16. Tar soap, text.

Appropriation (Pretender)

22x14x14. Glass jar, jelly, a souvenir pen with the inscription Paris, water, acrylic.

I.

.. by dying
it will bring
many fruits.


I sold my soul to the devil to go to Paris,
where in the dirty lecture hall, among papers and kisses,
students wrapped in blankets were listening to
still alive Louis Althusser.

thing becomes thinner when you call it a word

he, however, has already lost the last remnants of any methodology
and talked more about soil science, proper grafting and budding



II.

and there is no more paris
because I'm inside it
there are only street names and saps flowing along sidewalks
people exploding with happiness
exhausted from their own inheritance
sowers and irrigation devices
opponents of both fair exchange and contractual relations
rulers of the heavenly garden, swollen from fleshy shoots

bursting things
as if crushed by the thermidor wheel



(It gradually gets dark and twilight falls)

STEP #3
(Smells like freshly cut grass)
God structure

40x55x65. Metal, wire, plasticine, acrylic paste, plastic, wood, glass, paint, stone, chicken leg, paper, bread, foam rubber, candles.
(to Jean Genet)

Genista
blooming yellow on the slope


I.

Excess openness
standing in your face
and nowhere to look away


II.

“Unite!” cried the street.
“Move towards the center”
Does anyone here understand the proper sorting of the inherently divine
bodies?


III.

But here is something different, pig-faced
three steps to
and we are suddenly trying to see through the thin cuts

blooming yellow on the slope
genista.


Ambiguous still life

66x40x15. Glass, plastic, foil, film, acrylic, varnish, sunflower oil, bread, paraffin, earth, spices, puzzle pieces, dry leaf.

Cake-coffin

30x20x12. Liners, acrylic, polystyrene foam, acrylic paste, meringue. Chair, pig feet, acrylic paste, acrylic, plasticine, canvas, silk, thread. Inscription on the cloth says: "Devour me and I'll be back".

Appropriation

22x14x14. Glass jar, jelly, a souvenir pen with the inscription Paris, water, acrylic.
I.

.. by dying
it will bring
many fruits.


I sold my soul to the devil to go to Paris,
where in the dirty lecture hall, among papers and kisses,
students wrapped in blankets were listening to
still alive Louis Althusser.

thing becomes thinner when you call it a word

he, however, has already lost the last remnants of any methodology
and talked more about soil science, proper grafting and budding



II.

and there is no more paris
because I'm inside it
there are only street names and saps flowing along sidewalks
people exploding with happiness
exhausted from their own inheritance
sowers and irrigation devices
opponents of both fair exchange and contractual relations
rulers of the heavenly garden, swollen from fleshy shoots

bursting things
as if crushed by the thermidor wheel



III.

the fabric of the text is already too thin
but you still can
distinguish in it

my

signature



Return

80x30x60, cardboard, paper, photo, text, wire. Mechanical cinema in the cut-out technique.
Left
Right
in the past, which has already taken place, it is still “better” for the dead
the soil sagged in one place
This place wants to be holy
some experience of non-event destroys the residual layer
some experience in the process of self-repetition claims to signify a "worship"
«Chosen motherland» doesn't propose an archive
hidden place are no more than speech
in the present, at this time, so far
how could we save the places we speak about
«Chosen motherland» is constructed as a mausoleum
unfullfilled promise we had to extract from her
when she herself bears the seal of sacralization
she is essentially the Shroud of Lenin
she at her core wants to be a construction
a historical experiment, Jerusalem
right right. I reiterate the same quote,
in the past, which has already taken place, it is still “better” for the dead

Tea mother with hiding places for relics

40x60x25. Mannequin, tea bags, cloth, bones.

where are you going saint irina
through the capital, on the edge

human sieve sends out
thin shoots
of inhuman properties
metal stepchildren
launch into the sky

govermental arrows

what petushki are you going to
what's the deal
waiting for you in the fifth department
of the universal hole-hell-house

holy irina
about seven heads
about eight burned
about nine sewn

floats the sieve


Untitled (victory)

130x50 Fabric, branches, glass, acrylic, cardboard, ink, liners, paper, rubber.


Untitled (on ira)

80x14x2. Cane, glass, acrylic, cellulosic packing film.

Heads

24x20x13, 3pcs. Papier-mache, acrylic paste, bread, acrylic, cardboard, varnish, glass, wire, jelly.


©Irca Solza, 2013-2019.