In The Sweat of Haunted Objects, Celeste Sanja and Jure Sulič present a collection of obsolete agricultural tools that have lost their original function and value with the development of technology. In doing so, they question the past and present use of certain objects and the often misconceived correlation between function and value.

They arrange objects such as the sickle, the flail, the harrow, the winnowing basket and the yoke as a kind of altars floating in a timeless infinite space, transforming them into ritual occult instruments. When they cease to be used for production, technical objects take on the role of reconstructions of collective memory and past values, and begin to exist within a symbolic and imaginary framework. Their transformation from technical to ritual objects is based on the theory of Gilbert Simondon, who saw such ritual objects as hybrid entities that in the past served as important building blocks of society, but later became carriers of symbolic collective meaning.  

The virtual environment of floating agricultural artefacts creates an ominous atmosphere full of hauntings from the past, which point to the possibility of disrupting existing social constructs and highlight community bonding, participation in rituals and the use of fiction as (new) tools for dealing with critical concerns and burning questions of our time.

Celeste Sanja (1998) is a transdisciplinary artist and 3D generalist who enjoys writing. Originally from Slovenia, she is currently based in Helsinki, pursuing a master's degree in New Media at Aalto University. Her work delves into themes of corporeality and transience, embracing various new and unknown media.

‍Jure Sulič (1995) is a 3D Generalist and Technical Artist from Slovenia, currently based in Helsinki, Finland. He specializes in procedural design, workflow optimization, and tool creation using Blender and Houdini. He is passionate about working at the intersection of math and art.

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Celeste Sanja in Jure Sulič v delu The Sweat of Haunted Objects predstavljata zbirko zastarelih kmetijskih orodij, ki so z razvojem tehnologije izgubili svojo prvotno funkcijo in vrednost. Pri tem prevprašujeta preteklo in današnjo rabo določenih predmetov ter pogosto miskoncepcijo soodvisnosti med uporabnostjo in vrednostjo.

Predmete, kot so srp, cep, brana, sito in jarem, postavita kot neke vrste oltarje, ki lebdijo v časovno nedoločljivem neskončnem prostoru ter jih tako spreminjata v ritualne okultne instrumente. S prenehanjem služenja proizvodnji tehnični objekti dobijo vlogo rekonstrukcije kolektivnega spomina in preteklih vrednot ter začnejo obstajati znotraj simbolnega in imaginarnega okvirja. Njihova transformacija iz tehničnih v ritualna orodja temelji na teoriji Gilberta Simondona, ki je tovrstne predmete videl kot hibridne entitete, ki so v preteklosti služile kot pomemben gradnik družbe, kasneje pa postanejo nosilci simbolnega kolektivnega pomena.

Virtualno okolje lebdečih kmetijskih artefaktov tako ustvarja zlovešče vzdušje polno ostalin iz preteklosti, ki opozarjajo na možnost prekinitve obstoječih družbenih konstruktov ter izpostavljajo povezovanje v skupnosti, udejstvovanje v ritualih in uporabo fikcije kot (nova) orodja za soočanje z urgentnimi problematikami in perečimi vprašanji našega časa.

Celeste Sanja (1998) je transdisciplinarna umetnica in 3D oblikovalka, ki uživa v pisanju. Prihaja iz Slovenije, vendar trenutno živi v Helsinkih, kjer na Univerzi Aalto opravlja magistrski študij na Oddelku za nove medije. V svojem delu se poglablja v teme telesnosti in minljivosti, pri čemer pogosto raziskuje različne nove medije.  

‍Jure Sulič (1995) je 3D generalist in tehnični umetnik iz Slovenije, ki trenutno živi v Helsinkih na Finskem. Specializiran je za proceduralno oblikovanje, optimizacijo delovnega procesa in izdelavo orodij z uporabo programov Blender in Houdini. Njegova strast je delo na presečišču matematike in umetnosti.