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Въпреки че „Цвете-вентилатор“ 2004 на Лъчезар Бояджиев, тропащото отвътре на шкафа нещо, крещящо „Изпий ме“ 2011, на Стефания Батоева, пълната с кръв луминисцентна лампа на Антон Терзиев и УЛТАРФУТУРО, 2006 и затворената зад решетки флекс машина в „Без заглавие“ 2009 на Орлин Неделчев са направени от художници от различни поколения, тук те могат да се срещнат не само на жанрова основа (обекти), но и да бъдат разглеждани като псевдо-утилитарни иновации, представяйки ни нови идеи за предоговаряне.
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Although Luchezar Boyadjiev’s Flower-Fan (2004), Stefania Batoeva’s unidentified thing banging inside a cupboard and screaming Drink Me (2011), Anton Terziev and ULTRAFUTURO’s luminescent lamp full of blood in Red Cross(2007), and the flex machine locked behind bars in Orlin Nedelchev’s Untitled (2009) are the work of artists from different generations, here they can be grouped together not just on a genre basis (objects); they can also be regarded as pseudo-utilitarian innovations presenting new ideas for renegotiation and consent. The flex machine has been “restrained” behind bars, it cannot cut; but then its “peaceful” function as a tool has also been curbed, being forcibly locked away in a box with bars invented for the purpose. Batoeva’s metal cupboard has the same restraining function and so does Terziev’s lamp which contains blood that is being transformed into another chemical state. These works make us feel claustrophobic and this is irritating. For its part, Boyadjiev’s flower has the opposite effect, but it is just as irritating. It draws our attention to the function of the fan (it has something like vanes that are meant to “fan” us), it is red and lovely, it is a “fluffer,” it blows lightly until it turns into a real fan and performs its function. But the flower will never turn into a fan, its petals are soft and tender, it cannot extinguish the heat – it can only annoy us, placing us in a situation of violence against our feelings unless we make an effort to harden its petals.
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