Gone with the Wind-Farm (2022)
Aluminum, Acrylic Resin, varnished

One hundred and twenty metre high steel and fibreglass composite flowers cover the fields and produce electricity. Imitating the ways of the already existing landscape they create a new kind of vegetation and naturally these monumental white flowers too get exhausted. Just as the term wind farm implies turbines have turned into some kind of an animalistic entity that can also rot away and fall apart. Disintegration becomes suffering becomes one very long moment. It is energy that has exhausted itself and is speaking the gestural language of animalia. Mike Kelley writes that the aura of death surrounds statues. I write that the aura of utopian nature and spatialities of energy transition surrounds wind turbines. The origin of sculpture is said to be in the grave; the first corpse was the first statue, the first object that the aura of life clung to. What is a field of broken steel flowers then?

Physical energy just like bodies can exhaust and crash and reality can, too. Things happen by accident and go beyond control, flames can rise and disrupt the colourless wind by drawing black patterns of smoke and causing disruptive fear. A picture like this sets in motion our incapacity to actively be part of the world, putting us in the place of a simple spectator gazing at the evil that happens all the time. Monumental technological composite evil. The exhausted wind turbines laying in the fields become sensual, they become a surface of empathetic projecting, the solid broken bodies call to my body. As the wind turbine laying in front of me exhales the subtle light of energy my palm extends for a slow caress and that too becomes one long moment, a moment of grace.

Here is a physical bliss which cannot be compared to anything: both me and the turbine float in tranquil happiness enhanced by a lucidity of the unmistakable good fortune of our shared material presence. We are speaking to existence, everything acquires a kind of halo which is not imaginary, it’s almost mathematical.Then it gets carried away, to the US town of Casper, Wyoming where they have already buried 1,000 non-recyclable blades in its landfill site, earning $675,000 for the town. Or they are recycled as a fuel mix for a cement factory. Or they are cut into strips and used as rebar in concrete to build a railway. Or they are used as a support structure for pedestrian bridges in Poland. Blades hiding in the earth crust swallowed by earthly desires, cities getting rich, people stomping over the cut up leftovers, all of this is nature, all of this is in a state of grace emitting light, all of this is impalpable.

The text above consists of crypto-quotes of Mike Kelley, Cara Schacter, Clarice Lispector and original writing of Luīze Nežberte