1-3TI7.B
WM–7–TTF
WM–7–TTF
notes on Objeckts
to the mind that begs the question : Who is it that thinks ?
AaQL is an organism, a container and an archive — an evolving structure that examines that which Is.
AaQL is an agora, it is an exhibition, a gathering, a critique of consumption dressed as a forum.
It moves around and through the machine of mass production. AaQL is a critique from within — mirroring the system, participating and playing with its parts, turning consumption into commentary.
POETICS OF OBJECkTS
Objeckts are things; they are carriers of time and experience — stripped or adorned with function.
AaQL collects what is in and out of place, what is almost forgotten and what is celebrated; what refuses to fit and what alters itself to fit in — arranging this marriage of oddity into rhythm, collision, and harmonically disruptive Form.
Meaning is often destroyed by over-production, branding, and shallow utility. Inside AaQL, meaning is built through placement, juxtaposition, and narrative.
Beauty and function are not always aligned. It finds harmony in the friction, in the discomfort and commotion, in the poetry of Istigkeit — of "Is-ness".
Curation is choreography. Objeckts are fluid motivators in the space between aesthetics and critique.
To collect is to question. Why do we surround ourselves with what we do? AaQL seldom answers — but it always engenders more questions.
Provenance is more than history — it is ritual. Objeckts travel through hands and stories, building a map of memory and exchange.
Touch matters. Our sense of tactility has long been reined in by the art industry. To touch a work of art is to experience another dimension of it. It selects objeckts that need to be touched. AaQL is primarily tactile, interactive, and unapologetically material.
Objeckts can soothe, disturb, or tantalise — how they are received is as much a part of the curation as how they are found and created.
Here, the mundane is sacred, the lost is found, and the odd is revered.
AaQL is a stage where the peculiar is holy, the forgotten is sacred, and the misplaced is brought back into focus—not for utility, but for the desire of its existence.
SYNTHESE
AaQL is methodical but instinctual and intuitive; it prefers the 'logic' of aesthetic over the 'logic' of market demand. Objeckts are curated not by profitability, but by form and story.
Objeckt Forms are fluid: non-artistic objects, artworks/artefacts, text, fashion accessories/textiles, performances and exhibitions. It resists categorisation and expands through narrative and meta-tactility.
AaQL subverts singularity. It is multiplicity, layered and disruptive — an archive of essentially paradoxical amalgams.
The process is odd, layered, rhythmic—transparent but obscure, ironic, soft, and sometimes academic. It embrace the contradictions.
WHY IS NOTHING FREE ANYMORE ?
Trade is not just a transaction; it is exchange of memory, tactility, narrative—an act of reciprocity, not consumption.
Trade is critique. Exchange is philosophy. Each transaction within AaQL is a gesture of defiance against pure utility—a reminder that not everything must be monetised or used to have value.
Locality is material truth. AaQL trades Objeckts — in what is found, created, heard, touched, read, questioned, liked and disliked, forgotten and remembered. These veins of existence are curated for their ability to disrupt, to provoke, and carry the weight of experience (meta-tactility)
AaQL is not necessary — and that is the point. Its existence is a gesture against the tyranny of utility.