Brief aan Philip Zilcken Possibly 1913 - 1929

Editor: This is "Brief aan Philip Zilcken" by Hélène van Goethem, probably from sometime between 1913 and 1929. It's ink on paper – a handwritten letter, it seems. There's something incredibly intimate about seeing someone’s actual handwriting, a direct connection to their thoughts. What jumps out at you? Curator: What fascinates me is the raw materiality of this letter. We have ink, paper, the physical act of writing. The paper itself tells a story, its texture, the way it's aged. Think about the social context: letters were crucial for communication, forming connections and conducting business. This wasn't mass-produced; each stroke of the pen involved time and effort, representing a particular social practice that requires analyzing the mode of production and reception of it. Do you consider the letter to Philip as an artwork by itself, or rather a tool? Editor: I see your point. The labor involved is definitely something you lose in our digital age. I guess I had considered it more as a historical document. It’s interesting to think of it existing in that area between artwork and practical tool. How does focusing on the materiality affect how we see Van Goethem as an artist? Curator: It challenges the traditional idea of the artist as solely a creator of fine art. Van Goethem’s labour in producing this letter becomes relevant. This isn't necessarily about artistic genius, but about process, about communication and social exchange, using the material tools at her disposal. We begin to understand the networks she worked within. Look at the list of names and addresses; these are all elements of a lived, material existence, not just abstract ideas. Editor: That’s a helpful perspective shift. By focusing on the letter’s materiality and function, we get a richer understanding of Van Goethem and her world. Curator: Precisely. It urges us to expand our concept of art and consider it as an activity deeply embedded in social and material relations.