WHORE ,” and another , small grey one displaying an enigmatic URL “ HTTP :// SEDUC- TIVE EXACTING REALISM . COM .”
I handed a crisp $ 50 bill to the model at the reception desk and was , in turn , asked to fi ll out a very peculiar set of questions on a printed paper bag . I fi lled in bubbles corresponding to my “ income level ” ( low ), “ stress level , measured in weight you carry on your shoulders ” ( high — fi ve heads or more , spine bending ), and “ candy period ” ( Capitalism ). My bag was stamped , and the model proceeded to fi ll it with a weighed amount of a particular type
of Josip Kraš candy , corresponding to my answers on the bag . She handed me a copy of the SPELLS book .
She explained that this particular Croatian confectionery had been creating candies through four distinct periods — Imperialist , Fascist , Communist / Socialist , and Capitalist . The types of candies produced correspond to the regimes in power , represented in this exchange by choosing one answer on the bag , and weighed according to my self-described stress level .
Haiduk ’ s work was highly relevant in an art fair dedicated to the role of art-as-commodity . It made me think about my role as a consumer in a larger , global system , my appetites , and my self-assigned class affi liation . Right now , I am thinking about my self-described “ low income ” level , and the privilege I displayed in being able to afford $ 50 to buy into a conceptual art exchange in Miami Beach .
Photos by Leah Sandler
You can see more at : YugoExport . com
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