Similarly, to the Infrastructure & Beach series, the poor photo quality is central to this work, just like in the case of the work Untitled (Lady Dee, 2020). The large portrait of the young girl also wasn't framed and installed on the wall, but placed on the floor as posters that could be taken by the visitors of the exhibition. With this gesture, the intimate private sphere of the visitors was also channelled in the exhibition space unexpectedly, as we could possibly wonder, whether the visitor who carries a poster with them is aware that the portrait depicts the porn actress Lady Dee.

Borbála Szalai, How Soon Is Now, NoD Gallery, Prague, 2020

It takes just a few moments to come. However, finding the right stimuli for easy masturbation requires a complex search through a literally endless repository of available material. Various forms of decisions need to be taken. Starting from the original wishful search for ethical porn, yet the pressure growing inside and all those paywalls at the end bring you to the usual pornhub engine.

Footnote 3: Even though this segment might sound conformist regarding the usage of porn, it also explores various forms of emancipation. It speaks of sex workers as natural elements of the capitalistic machine, willingly using their bodies as means of production. It also addresses potentiality for porn users, who use it similarly as they would use a cigarette, a piece of chocolate, or another episode of a random YouTube clip, merely to keep their bodies functional to stay productive without unnecessary tensions.

Jen Kratochvil, Infrastructures, Beach & a Porcelain Skin, Vlna 87, 2021