Curators: Maria Kramar and Karen Sarkisov

The CAM milling device (computer-aided manufacturing) is a machine designedfor the creation and working of various components (from wood, plastic, metalor stone) by means of a rotar y cutter— a tool with one or more cutting blades.The hotel room contains a sealed Plexiglas model of an air motor in theform of a torus or ‘ doughnut ’. On the screen, a video is played, in whichthe cutting of various components is imitated. Guests become the obser vers ofan absurdist process: the endless movement of the capsules inside the torus is accompanied by the unceasing production of components. In this situation, the action of the CAM-station’s imitator is purposeless — not only does he not see the need to produce real ar ticles with weight andvolume, he concludes his work each time with the total destruction of the component he has produced. In this way, manufacturing is represented as a standalone procedure, in which there is no division into the living and the dead, or between the process of creation and its result. In positioning this sealed, but still functioning mechanism of the air motor (whose task is to deliver a message) in the centre of the room, the artist critically conceptualises the functioning of the “global village”, postulating the impossibility of a full cycle of the message taking place. Inside the closed plastic tube, the message cannot complete the circuit and, under the influence of gravity, ends up going back to the beginning which, in par ticular, refers to the notion of the heat-death of the Universe (as put forward by R. Clausius).