Machines Désirantes consists of a soft, flesh-colored sculpture of an extended tongue, placed on a rotating platform with a mirrored surface. Just above it hangs a red lollipop, suspended from an almost invisible thread. Cast in resin, the lollipop is permanently unreachable. The tongue turns endlessly, never able to attain its object of desire. The installation is surrounded by red, kitschy flowers, heightening the work’s ironic interplay between seduction, excess, and artificiality.
The installation portrays the human being as a desiring machine — a system that keeps functioning even when satisfaction is impossible. In its apparent simplicity, the work evokes psychosexual tension, childlike craving, and ironic tragedy. The tongue becomes both a body part and a symbol: expressive, erotic, and helplessly driven.
The title refers to the concept of desiring-machines from Anti-Oedipus by Gilles Deleuze and Félix Guattari. For them, the subject is not a coherent individual but an assemblage of drives, flows, and lack. In late capitalism, as they argue, we are all reduced to productive components in an economic system that constantly stimulates desire but never fulfills it. In Machines Désirantes, this becomes visible and tangible — an eternal orbit around a materialized absence.