3D printing technology potentially undermines double monopoly, which is the base for the modern society. Firstly, it is the factual monopoly of big industries producing utility goods, where 3D printing option makes possible to create own customised production (resulting concentrated within the phantasm of a self-replicating 3D printer). Secondly, monopoly of the state on violence policy, when it allows printing guns at homes.
From this starting situation, the close relationship between productive and destructive forces, in which the project of Tomáš Kajánek is situated, becomes visible. Viral logic of distribution of these wiki-guns is similar to the viral videos spreading on the internet, where instead of a single videofile, series of videos are created – their imitations, variations and video-reactions – and emphasis is put not on their originality, but the possibility of popular creativity. Shots depicting proud gunmen, shooting targets, are being put on Youtube. It is this material, which provides other basic object for Kajánek´s interest. Kajánek analyses floating body of these videos and extracts its symptomatic motifs – more than demonstration of firepower, he is interested in the choice of targets and conditions of shooting/hitting
Kajánek inspects the issue of how many smartphones can save our lives with a series of aligned devices. This action reveals self-eating logics of permanently innovated goods, suggesting the option of making the consumerist transgression free. Further, it implicitly destabilises illusory societal consensus on the adequacy of violence, as within its frame, the invisible finger of the market pulls the trigger and shoots the invisible enemies. Kajánek explores position of the art between production and destruction, where he perceives an artwork as a gun and asks about the adequacy of its usage and potential effectiveness.
The exhibition project Come Over When You're Sober is the second part of the series Becoming a Girl, which takes as its theme the character of a (young) girl as we can meet her in works by Tiqqun (1999), Deleuze and Guattari (1980), or Witold Gombrowitze (1937). The aim of the cycle is to present the character of a young girl as a conscious and unintended guide in confrontation with the difficulties of today's world, against the background of the works of the young generation of Czech artists.
