The next artistic project was a Wear triptych. I prepared it for the 2008 exhibition in Gallery P74. This time the object was no longer an exoskeleton, but a simplified, stripped everyday object. The clothes thus changed from the explicitly seen and tangible, back to the implicit sphere of ideas. Through this they could grow – in the literal sense: the objects grew to such large proportions, that I had to borrow the neighbouring, larger studio, to film the final act, i.e. the video performance. Iron and foam remained the main materials, but I also included an electric drill and two small television screens. The final product still focused on the production of the video performance triptych. I soon received an invitation for an exhibition for which the curator insisted that I exhibit the objects themselves. Thus, I had to reconstruct them all, as I had previously dismantled them into tiny pieces.

Even though the presentation of my work had changed, I insisted that the video performance opens a space for interpretation. I believed that the viewer experiences and understands the exhibited objects differently if he also has the opportunity to watch the video. On one hand the video performance was a presentation of the object’s use, while on the other hand it mocked this use.

The triptych addresses cyclicality, the repeatability of the everyday. Scrubbed of all the decorations it shows the daily routine of waking up in the morning, arriving at work, where we perform hard work at an externally dictated tempo, and the routinely free afternoons, which we spend by moving the television screen. The screens show nothing or merely a different lack of signal, which reveals the various non-contents that we absorb in our spare time, in our time of relaxation. By banalising the television remote control and turning it into a mechanical one, I wished to draw attention to the emptiness of the available content. We could say that Wear V-VI-VII is a documentary view of the basic structures of the everyday life of an individual. In the process of editing the video I speeded up the movements. I also added the music from Martin Brest’s film Beverly Hills Cop to the first part, the music from George Lucas’s film Star Wars to the second part and the music from Roland Emmerich’s film Patriot to the last part.

Compared to my previous productions, the main novelty can be noticed in the technological and editing leap in the quality and perfection of the video. This was when I started experimenting with the language of film post-production. I added shots from various perspectives, close-ups as well as adapted the light in order to improve the narration of the video performance.

​As I insisted that the created objects should not be interpreted as torture devices, I – in my negotiations with the curators of galleries and museums – demanded that they allow the visitors to use them, as a result of which I had to accept that the imperfectly crafted objects will need repairs or restoration works.