We can doubt to what extend the world is full of ideas and/or experiences but cannot ignore the facts of stuff. We should possibly support the determination of our reality by relying on the stuff, rather than anything trivial floating outside of it. If indeed so, then this project may just deliver be a justified approach as a speech act. Possibly even, as a form of art reviewing, it offers more justifiable words for the actual exhibitions on site.
When stuff is aligned with purpose, care, and/or sensitivity, as when artists make exhibitions through engaging whatever specific on a material basis leaving us artworks and exhibitions, there might just be a bigger reality inherent to that stuff, within the total setting of this stuff. That reality just might not need any further thought and might not need any mediation as it starts and ends being stuff.
In short notes (call it poems) Freek wrote down what he saw, without writing down thoughts about the wider context, abstract analysis, historical connections, or personal experiences: just to write about the stuff. In being descriptive, as if to leave out all human projections and to come to some sort of reality without reflection, projection or imagination, he tried to reach for an objective truth-finding...and find out if words without anthropocentric burden can indeed connect with the world outside of us and make sense fundamentally.
It is by the diction and rhythm applied in the spoken out loud reading of the texts, as pressed onto vinyl, as well as through tension projected onto this result by you my dear listener/reader, while you’re connecting to the rhythm and such, that our human sensitivity interferes again.
Author: Freek Lomme
Design: Harvey Herman
Dimensions: 12 x 12 in.