Index

A Landmass To Come

Sound, collectively formed clayscape, 

2nd Riga International Biennial of Contemporary Art,  20.08. - 13.09.2020, curated by Rebecca Lamarche-Vadel

A Landmass To Come is a collectively formed installation made out of 80 tonnes of unearthed Latvian clay. 

Situated in an industrial storage building in Riga, it was initially shaped by local teenagers who were touching, forming, smelling, walking on and listening to the clay while an audio meditation as fact-based fiction stream was taking them on a multisensory journey through geo- and bio-political landscapes. Connecting to those material traces, to those new metabolisms of the Anthropocene – sedimenting in our soils, infrastructures and bodies – the audience was offered to continue the forming process while listening to the same guided meditation.

 

“The clay is touching your fingers. The clay is touching your skin. Notice this sensation landing against the surface of your bones. Two mineral surfaces, the clay, the bones, resonating, slowly vibrating.”

 
Starting from the mineral memories of human cells, the red clay soil in your hand gets activated as a resonating archive. Acting here as a polymorphic, subterranean vessel, as a mineral membrane for hosting complex reactions, as a potential birthplace of future and past life on this planet. Transforming into earthenware, into cups, into caves, into a national storage treasure – potentially holding one-tenth of natural gas which Europe utilizes in one year. Becoming fertile soil for harmful industries to flourish, while hosting collective geo-bodies to come.

 

A landmass to come audio meditation (EN) here

 

Also see:

 

RIBOCA2 online catalogue

Nina Vukelic on RIBOCA2

 

Credits:

The installation is created together withRIBOCA2 Youth Council, Luīze Nežberte, Esmeralda Purvišķe & Zahars Ze(Krasta Keramika)

Voices: Luīze Nežberte (LV), Anna Mendelssohn (EN), Evgeniya Pewal (RU)

Sound design: Karl Salzmann

Sound recording: Stefan Frankenberger (Studio 77)

 

Courtesy: The artist. Commissioned by the 2nd Riga International Biennial of Contemporary Art, RIBOCA2.

 

Supported by:  Phileas, Federal Chancellery Republic of Austria

Installation view, photo: Heedi Jaanso
Katrin Hornek A Landmass To Come
Production still, photo: Kristine Madjare

 

 
Katrin Hornek A Landmass To Come
Production still, photo: Kristine Madjare

 

 
Katrin Hornek A Landmass To Come
Production still, photo: Kristine Madjare

 

 
Katrin Hornek A Landmass To Come
Production still, photo: Kristine Madjare

 

 
Katrin Hornek A Landmass To Come
Production still, photo: Kristine Madjare

 

 
Katrin Hornek A Landmass To Come
Exhibition view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Exhibition view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Exhibition view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Installation view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Installation view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Installation view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Installation view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Installation view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Installation view, photo: Kristine Madjare
 
Katrin Hornek A Landmass To Come
Katrin Hornek A Landmass To Come
Katrin Hornek A Landmass To Come
Katrin Hornek A Landmass To Come
Katrin Hornek A Landmass To Come

A Landmass To Come is a collectively formed installation made out of 80 tonnes of unearthed Latvian clay. 

Situated in an industrial storage building in Riga, it was initially shaped by local teenagers who were touching, forming, smelling, walking on and listening to the clay while an audio meditation as fact-based fiction stream was taking them on a multisensory journey through geo- and bio-political landscapes. Connecting to those material traces, to those new metabolisms of the Anthropocene – sedimenting in our soils, infrastructures and bodies – the audience was offered to continue the forming process while listening to the same guided meditation.

 

“The clay is touching your fingers. The clay is touching your skin. Notice this sensation landing against the surface of your bones. Two mineral surfaces, the clay, the bones, resonating, slowly vibrating.”

 
Starting from the mineral memories of human cells, the red clay soil in your hand gets activated as a resonating archive. Acting here as a polymorphic, subterranean vessel, as a mineral membrane for hosting complex reactions, as a potential birthplace of future and past life on this planet. Transforming into earthenware, into cups, into caves, into a national storage treasure – potentially holding one-tenth of natural gas which Europe utilizes in one year. Becoming fertile soil for harmful industries to flourish, while hosting collective geo-bodies to come.

 

A landmass to come audio meditation (EN) here

 

Also see:

 

RIBOCA2 online catalogue

Nina Vukelic on RIBOCA2

 

Credits:

The installation is created together withRIBOCA2 Youth Council, Luīze Nežberte, Esmeralda Purvišķe & Zahars Ze(Krasta Keramika)

Voices: Luīze Nežberte (LV), Anna Mendelssohn (EN), Evgeniya Pewal (RU)

Sound design: Karl Salzmann

Sound recording: Stefan Frankenberger (Studio 77)

 

Courtesy: The artist. Commissioned by the 2nd Riga International Biennial of Contemporary Art, RIBOCA2.

 

Supported by:  Phileas, Federal Chancellery Republic of Austria