Bioatomenergieproduktionsmaschine
Ebereschenbeerenextraktionsmaschine
Monumentallandwirtschaftsstrukturmaschine
Rostspülmaschine
Reifenkultzubehörherstellungsmaschine
Niederländische Jahrtausendarchitekturmaschine
Wetterheizungsmaschine
Gaserzeugungsmaschine
Silikatwürfelmaschine
Venezianische Stimmungsmaschine
Birkensaftgroßvolumenabfüllmaschine
Fernsehmöglichkeitsturmmaschine
Halbzylinderauswurfsmaschine
Funktionalismuskochmaschine
Kirchenglocken Klangprüfmaschine
Konstruktivismusmaschine
Sakralmaschine
Einhundertzwanzig Meter Maschine
Fahrzeugverbotsmaschine
Schafskubismusmaschine
Grausteinhaufenmaschine
Heildampfblasmaschine
Zylinderauswurfmaschine
Weltluftbehandlungsmaschine
Dreifachzylinderauswurfmaschine
Erweiterungsmöglichkeitsmaschine
Auswurfmaschine
Beulenpressmaschine
Extralangendingeherstellungsmaschine
Stahlkastenmaschine
Satteldachauswurfmaschine
L1-Erdkernbohrmaschine
Schwarzwolkenholzrahmengenerator
Öselwiedergrossmachmaschine
Titanmonolithenpoliermaschine
Direktverbindungsmaschine
Konfessionsdesintegrierungsverfahrungsbelebungsmaschine Simpsonshimmelherstellungsmaschine
Kiefernwaldleitungsmaschine


Die deutschsprachigen Maschinen von Katerina Veerde

Maschinenwerke

2019-2020

They are the corpses of agrarian optimism that date back to the collective farm era. Slowly they moss and disintegrate. Stone and concrete are eroding, wood is rotting and steel is rusting. Their form has been usually derived from function and as the function has changed they have been constantly remoulded and tuned. Sometimes deserted and even partially demolished. The additions have often turned out witty and brave. Towers, complex exterior stairs, dynamic galleries. Materials vary, but they tend to be a selection of the same set. Asbocement, concrete, silicate brick, rusty corrugated steel and rough timber. The colour palette is mostly grey covered by greenish moss like it usually happens with corpses that have been left behind. They somehow radiate the excitement of past intensive working spirit that actually did not exist. Few of them have been designed by an architect and thus have obtained a strange cultural value for a small bunch of freaks. A number of them accommodate a small hi-tech robot cluster that flashes led lights, buzzes and beeps, grinds, dries, preserves or packages something. Machinery being controlled by the invisible farmer from his home office on his cell phone.

This series has somehow attacked me with its brutalism and as German is the concrete of all languages, the captions are cast from this substance.