Some kind of cinema obscura where he casted these oppressed landscapes
Bibliophile, disc jockey, ragpicker
variations of the same arch character
which share interests with fragments.
Encyclopédiste has an obsession to gather and categorize them.
101. Clams 102. Tiger 103. Army Action Figure 104. Plastic Tank 105. Glass Bird 106. Porcelain Tiger 107. Plastic
Palms 108. Glass Elephant 109. Pair of Clogs 110. Color Candles 111. Epicrates inornatus 112. Possible Moon Stone
Jungle in the living room
Archive on the Ikea shelf
Someone else’s point of view into a jungle online
someone’s unknown ancestor
a digitized amazement of the larger cosmos
Wunderkammer in der Disco
Scent of flowers
Idea of pure memory, pure duration
where it’s possible to access into
someone else’s memories
What’s the difference between the longing and nostalgia as disease?
The first one resonates bodily as saudade
you try to cure another one wit surveillance,
myths, isolation, and fists.
There’s a break in tradition
when there are no more stories to tell
or people don’t remember the ones told.
Archipelagic thought can be learned with
accepting there’s harbor everywhere
noticing how unclear boundaries are
enjoying the rush in the space of continents, islets, and islands.
Image can be a myth
a sound, a call or an innovation
a light, an accelerator or a stimulus
I am not sure which world(s)
I will enter.
Or am I rather a voyeurist or a witness
of the forgotten past ones
and spirits
I don’t know?
Joonas Pulkkinen on kirjoittanut tekstin vierailtuaan Some Kind of Kalimantan -näyttelyssä. Lue lisää näyttelystä.
Teksti on osa vuoden 2023 TITANIK-julkaisua. Kokeelliset kirjoittajat vierailevat näyttelyissä ja tuottavat tämän jälkeen niiden kanssa resonoivan tekstin. Aiempia tekstejä on luettavissa täällä.
+++++
Joonas Pulkkinen wrote the text after visiting the exhibition Some Kind of Kalimantan. More info.
This text is a part of this year’s TITANIK publication. Authors working with various forms of experimental writing are invited to produce a text responding to each exhibition. You can read the earlier contributions here.
