The desiring-machine is not a metaphor
What is a desert? It is about a lot of tiny gains of sand which move spontaneously, or are in condition of a static movement. What is a human’s soul? Is it about some mysterious part of our body, or – is it about a strange substance which blears the eyes and turns the world into the illusion of feelings? It is a very strange thing – how people understand each other. We note down the words, facial expressions, movements – in our memory. Time later – the memories turn into the instinctive detection of people in masks and people-without-masks. A human – is quite often so similar to a desert because it is about innumerable parts which united or separately – create so unique mechanism… Even an empty desert is composed of billions grains of sand… So – there is no empty humans.
Sometimes, art seems to be a very interesting mirror. Art reflects the world through imagination, beauty, or even fiction – art reflects the realm with which we are surrounded; it is about a reality or irreal world that we create. Today, there are a lot of amazing things which are not easy to understand because there is no one clear meaning. Strange mechanisms which are so similar to the humans – is still one of the most interesting mysteries of art. A unique collection of kinetic sculptures “Desiring-Machines” by Server Demirtaş is very close to a question – what do the machines desire? Fragmentary, uncompleted creatures – imitate an emotion or state, or just the images – which are recognizable in the humans’ world. But, where is the end of the algorithm, and where does the desiring-machine take its origin?
These kinetic sculptures could be associated with the flowers. Flowers – are always unique because their “mechanism” is not hidden, it creates a very special aesthetics of these amazing creatures. So, we can see a true beauty, and – a lot of “non-aesthetical” details without which this beauty would be impossible. While human’s mechanic – is always hidden. No one is able to see, to understand and to display – the mechanics of his minds or the mechanisms of the constantly changing feelings. Whether anyone saw the mechanics of his own soul, or how does this soul work? Whether is anyone able to describe or to show this? So, as usual – robots seem to be defected creatures, but they only have another “nature”. It is about another movements and non-hidden mechanisms. We live in the age, when ready-made, statically clear object, or a “human-landscape” – becomes primitive. The “desiring-machines” – it is about some mechanisms-similar-to-humans, or it is about a fragmentary mirror. “We live today in the age of partial objects, bricks that have been shattered to bits, and leftovers. We no longer believe in the myth of the existence of fragments that, like pieces of an antique statue, are merely waiting for the last one to be turned up, so that they may all be glued back together to create a unity that is precisely the same as the original unity”. Partial, mechanized creatures of the algorithm – what do they desire? Mind or desire – it is about the defects of the algorithm, these means an error for machine – but not for the humans. Desiring-machine – was created by a human. So, what do the machines desire, or what does a human desire? Robots, mechanisms – non-metaphors and non-fiction – non-art and over-art, or is it just a mirror created by human to see a human in details? In addition to aesthetics of kinetic rhythm and mechanics – Desiring-Machines by Server Demirtaş – become an expression of how a human can to interact with the machines. Art, mythology, philosophy, religion – it is about the forms of knowledge of the world… Visualization, abstraction, faith, creativity – it is about the way of to feel the realm and the way to express it… Kinetic art – offers a new dimension of knowledge and its expression. Kinetic rhythm can be revealed in fragmentary but multidimensional movement of uncountable details: it is about a virtual motion, or about an imitated dynamics – imitated motion… Comparing it with painting – we can talk about an effect of impressionism – when aesthetics of impression is based on some distance which allows to see the “picture” completely. At the same time – we can compare it with a “photographic realism”: we can see multidimensional movement which is repeated and predictable – it’s just a fixed moment of realm, or some emotion… Kinetic sculptures by Server Demirtaş – surprise us and stay aside, they are remembered, exist aside of a human – or cannot exist without the mankind. The desiring-machines – were created by human, they are understandable for a human only: semi-uncompleted-emotions, “fragments” or “bits” which can be finalized only in human’s minds or imaginary due to a unique emotional experience.
Desiring-Machines by Server Demirtaş – in a kinetic rhythm
Desiring-Machines by Server Demirtaş is a unique collection of five mechanical sculptures set in motion. The artist brings life to his artistic machines marked with fluid, human-like movements, but at the same time – with a pure contrast. So, we can see robotic mechanisms, gestures, emotions, images which imitate some “locations” from the humans’ world. It is about a unique animated performance created of various details which we try to feel and recognize – but which we are not able to break down into the algorithms. So, over approximately 80 seconds, the animated visual spectacle captivates audiences and imparts a unique meaning for each observer. Anthropomorphic kinetic sculptures by Server Demirtaş – are woven with wires and cables, with imagination and complicated engineering formulas – it is about details and associations, it is about a contrast to a human and revealing of various stylized human conditions. In spite of these artistic sculptures have robotic appearance – it is not about “machines intended to carry out a given task, but to incite consciousness and contemplation of the human condition”. “One can easily achieve competence in re-creating human actions mechanically, but the real difficulty is in using mechanics to relate to the inner state” the artist explains. The Desiring-Machines, or kinetic sculptures – “are not about mechanics or intricacies of production; they are about the relationship between man and machines, exploring concepts of motion, perpetuity and inertia”.
The exhibition the “Desiring-Machines” is associated with the concept of the French philosophers Deleuze and Guattari and based on the book “Anti-Oedipus: Capitalism and Schizophrenia” (1972), as well as the first name of a group exhibition in 1997 in which his first machine was displayed. Server Demirtaş also finds his inspiration in the mechanical works of old masters such as Al-Jazari, and Leonardo da Vinci, as well as Swiss artist Jean Tinguely. Each kinetic sculpture by Server Demirtaş is crafted entirely by hand from start to finish. The process begins with drawings and plans for the mechanical solutions for the innovative mechanical art pieces. Each sculpture is unique, requiring from two to six month to design and construct the mechanics that create the mesmerizing characteristics of the compilations. “The most difficult part of the process is to design and produce the structure and mechanism to tender the movements as I dream them”, Demirtaş points out. As the heart of each mechanical sculpture is a set of Plexiglas wheels or cogs connected via cables and wires to execute the synchronized movements. The Plexiglas wheels are individually shaped to generate the specific movements of the different body parts creating the kinetic fluidity of the sculpture. At the same time these objects are created using stainless steel, polyester, silicon, and Delrin (a synthetic polymer).
“Hand on the Shoulder” (2017) is one of the most extraordinary artistic sculptures by Server Demirtaş. We can see only a fragment of the back and hand on the shoulder – which are fixed on a vertical support element. The mechanics of this object allows to observe the moment of breathing marked with a natural rhythm. “Hand on the Shoulder” can be associated with a marble-like statue that differs by special anatomical features – such as muscles movement during the breathing process. At the same time – we can see un-finished and strange fragment marked with a special dynamics and a unique sense of rhythm. We can notice associations with ancient art and with a real human’s nature; we can observe a unique way of how some emotion finds its way of expression – in a calm rhythm of breathing, in a hand on the shoulder which completes the image of a comfortable and safe deep solitude condition.
“The Purple Flower of the Machine” (2015) composition combines mechanical aesthetics with conceptual kinetic art. A robotic branch extends outward, inviting us to breathe in the scent of a beautiful orchid. At the same time the petals are opening. In a real life we don’t notice a unique moment – when a flower opens its petals… Well detalized textures and realistic nuances – recreate a natural aesthetics, but at the same time real “mechanisms” of the flower were replaced by robotic structures. So, we can see like a reverse contrast: when an artist follows the concept of “original” composition, but creates a new dimension of relationship between man and machine.
“Contemplating Woman’s Machine II” (2017) reveals a private moment of contemplation and stands nearly the same height and features a poised woman with her head resting on her knees and her arms wrapped around her legs. As if she slowly looks around this world. It seems like it is about she is in open air place and looks around an endless horizon. Very slow, fluid movement is associated with the state of calm and light minds not burdened with emotional contrasts. Human-like image is recreated partially, in a fragmentary way which creates a dissonance with the open mechanical details: especially – when her head leans – we notice some springs which broke even imaginary compositional unity. In addition to the open mechanisms – a unique play with balance is very interesting too.
“Desiring Machine” mechanical sculpture (2017) reveals an image of a small child standing on a pedestal in a restless stance with folded arms across its chest firmly hitting the wall behind with its back, over and over again. As if such a composition encapsulates childhood uncertainty and frustration – or hopeless hopes… In addition to an external dissonance revealed in the open mechanical details – we can see a cognitive contrast – because we notice the emotions which are typical or understandable for adults, but not for a child. It is about a stylized representation of unconscious state, about an expression of “adult child” which can provoke a “shock” reaction for adult people. This sculpture is 150 centimeter piece (live feet).
“Playground II” (2017) is an interactive sculpture marked with abstract and even surreal contours, and this installation allows to create a private musical experience. Its shape and silhouette – are changing when we move our hand close to it, and at the same time – each movement provokes new sounds. We can talk about a unique aesthetics which combines kinetic rhythms with music, visual performance and art – with engineering, touch with an absence of touch… “Playground II” sculpture is marked with a spontaneous character of impression that allows everyone to create a unique musical accompaniment which becomes an extraordinary dimension of relationship between a human and machine.
The desiring-machine – is not a metaphor, it is a discussion.
Captivating Collection of Desiring-Machines by Server Demirtaş now at the M.A.D.Gallery Geneva
first photo – Desiring-Machines by Server Demirtaş – kinetic sculpture “Desiring Machine” (2017) – M.A.D.Gallery Geneva
- The desiring-machine is not a metaphor. – ANTI-OEDIPUS. Capitalism and Schizophrenia. – Gilles Deleuze and Félix Guattari. – Continuum. – London. New York. – 2004. – Translated from the French by Robert Hurley, Mark Seem, and Helen R. Lane. Preface by Michael Faucault. – I. The Desiring-Machines. – 5. The Machines. – p.45.
- We live today in the age of partial objects, bricks that have been shattered to bits, and leftovers. We no longer believe in the myth of the existence of fragments that, like pieces of an antique statue, are merely waiting for the last one to be turned up, so that they may all be glued back together to create a unity that is precisely the same as original unity. – ANTI-OEDIPUS. Capitalism and Schizophrenia. – Gilles Deleuze and Félix Guattari. – Continuum. – London. New York. – 2004. – Translated from the French by Robert Hurley, Mark Seem, and Helen R. Lane. Preface by Michael Faucault. – I. The Desiring-Machines. – 6. The Whole and Its Parts. – p.45-46.
- “One can easily achieve competence in re-creating human actions mechanically, but the real difficulty is in using mechanics to relate to the inner state” the artist explains. – Captivating Collection of Desiring-Machines by Server Demirtaş now at the M.A.D.Gallery Geneva.
- While movement and mechanics play an essential role in Demirtaş’s art, his sculptures are not about mechanics or intricacies of production; they are about the relationship between man and machines, exploring concepts of motion, perpetuity and inertia. – Captivating Collection of Desiring-Machines by Server Demirtaş now at the M.A.D.Gallery Geneva.
- “The most difficult part of the process is to design and produce the structure and mechanism to render the movements as I dream”, Demirtaş points out. – Captivating Collection of Desiring-Machines by Server Demirtaş now at the M.A.D.Gallery Geneva.
More information: Captivating Collection of Desiring-Machines by Server Demirtaş now at the M.A.D.Gallery Geneva.