In the Western psychological logics the feeling of vacuity is as a rule connected with down– conditions, with something depressive. Being “filled” with emptiness is something incomprehensible for such logics. But it is not incomprehensible for the logics of hardcore conceptualism/ minimalism, where all of the adrenalin flows out or rather flows in from hollows, empty production. For a conceptualist void is an intensive poetic drag, the quintessence of dry logics, pure materialization of flesh-free structure.


the infinite number of artworks
stereo audio; puredata patch

despite attempts by institutional critique, and its disciples, to demythify arts infrastructural and institutional procedures contemporary art remains wrapped in the popular imagination in codes and conspiracy theories: and the elevation of one artist or work over another considered an outcome of those codes and conspiracies. why else would singular artworks standout in a realm of oversupply, the sheer volume of artworks in circulation and their similitude. they hint at a marxian reading of the whole system - if all works are the same (just another number) some sort of fetishization or mythification has to be taking place to individuate, differentiate or over-value this or that "art work number 000001".




book, hard cover, 16 x 11 x 1,5 cm, 200 pages

Similar to an archive, film stills which contain the phrase “nothing” in the subtitles have been collected. By pushing the scissors into the film reality, the blindfold of the Žižek-like false Reality is taken off and we, due to the iconized film stills, are left alone with the arbitrary meanings of “comic book fragments”. The visual from the cine film is deconstructed and decontextualized, the vacuum of meaning behind the frame — “nothing” — becomes the new mantra.

The first stage of deconstruction as a practice emanating from post-structural philosophy is usually consciousness acquired through reversal of existing value hierarchies. Despite the literary critical bases it is almost a mathematical calculation, which almost automatically reveals the politicization of the familiar signifiers. By decontextualizing “nothing”, we deconstruct the normative world-view, the mediated reality.




books about nothing
40 empty books, á 21 x 14,5 x 1 cm

the titles have been taken from actual books about various aspects on nothing, emptiness, voidness etc and reprinted without original content (text, pictures, design). this work deals with the idea of zero-degree representation, the pure desire and the noise of the observer.




untitled, nothing
; signs, 20 x 80 cm



The Anthology of Non-Existent Books
book; installation view at Tallinn Print Triennale

While fiction-in-fiction as a literary technique is totally dependent on the context, this book skips over the frame story phase with a technical solution: the context for the non-existent books is the real world, instead of books. The Anthology consists of seventeen original bilangual Estonian-English experimental booklets by eighteen different authors, approaching from their own angle the endlessly variable motive of non-existent books.
more info >http://www.paranoia.ee/0ra/



The facilities of listening and talking as „brackets“ which restrain the flow of speech, in this case not speaking and not listening – a pause. Spinoza talks about absolute/substance as the cause of self, as the beginning of causality. Spinozas image of the absolute was that God is trapped in himself – that through some mystical determination (cause-effect) he is bound to be and to create. As if emptiness demanded creation. This emptiness/space is so powerful that even God himself has no free will for he has to exist beside nothingness (0). Moreover, he has to create, he is programmed to create something. Being and creating is almost the same.
If we remove the singer or the speaker from the microphone (and from between the headphones) every spectator can recreate it on his own – from emptiness he or she can materialize just a suitable Non-Existent Band or a Sound of Zero. This kind of creative act is also automatic and done by rote – it is the psychological inevitability of the audience. As with Spinozas absolute the viewer turns into a psychological-mechanical toy and robot who is programmed to be nothing.

Brackets refer (emptily) to what is (or, in "brackets", is not) bracketed. In addition, "brackets" construct a feedback loop for channel noise as the blank author.


Black Square Fade

1. 1/430
2. 23/430
3. 49/430
4. 67/430
5. 89/430
6. 107/430
7. 128/430
8. 142/430
9. 159/430
10. 178/430
11. 198/430
12. 216/430
13. 237/430
14. 252/430
15. 274/430
16. 289/430
17. 332/430
18. 369/430
19. 401/430
20. 430/430

Printing hundreds and hundreds of A4 pages with Black Square fading into white is referring to operational exhaustion and
the appearance of machine-made meta-aesthetics within a clearly limited “system preferences”. Starting as almost like
a reversed hommage to malevich the piece reveals the operational logic of printing machine emptying its cartridges and
“trying to” make up to the full CMYK-black up to the point of absolute annihilation, up to the point when the empty printer
is repeating the white square on a white A4 paper. Meanwhile, and this is the most important thing, the process is leading
to a series of mutations on the way, mutations levelling out the interpretational overload of the Black Square and the White
Square „readable” form left to right, the sequence acts as a formally logical operation which is similar to a well-known
zen-budist allegory „By the Footsteps of an Ox” where by following the ox your mind flows into emptiness. But this „emptiness”,
this pre- and post-info state is an empirical fact derived from the inner possibilities of language itself, not a metaphysical speculation


graphite and charcoal on canvas

cellular structure with its mirror image is a whole. due to the shift a stair to the black hole appears