Freee see there work existing everywhere. Not, as Performance Art or Land Art would lead us to believe, in one given time and/or space, but in the gallery as well as within the public sphere possibly at the same time. The billboards, and ‘mini-protest performances’, as Freee calls them, are not solely for the passer-by but made with the full knowledge that the work will be presented in other ways, including the gallery, for a secondary audience.
There is no documentation. The video’s, photographs, manifesto, magazine works etc are all equal and relevant, even more so, as the original moment. All these contexts and mediums are variations of the same work. The dissemination of the work is paramount, and the idea of making something is with the intention to distribute it further.
They equate it to a protest chant, where one person shouts out a slogan, someone else hears it, agrees with it and repeats it and so on and so on. The intention is to copy or repeat and activate and empower the statement, the difference between, as Freee say the slogan and the modernist art object.
