Mapping Mourning
Mapping Mourning (2014)
Performance Installation: Sound, text, blue yarn, movement
Sound has been designed and edited together with Moa-Lina Croall.
Voices by Imri Sandström, Cristina Caprioli, Athena Farrokhzad and Hanna Wildow.
Graphics have been made together with Sara Kaaman.
Mapping Mourning is the fourth work in the series Affective Breaks. Framed as a performance installation, Mapping Mourning is Hanna Wildow’s invitation to the visitors to enter her process and draw maps of mourning together with her in the space. The map is generated with lines of blue yarn, gradually occupying the space throughout the week. Collectively, a timeline and a blueprint take shape – landscapes of love and loss; tales of crime and gladness; immortal places jointly recreated. A map of a mountain to get lost on.
The mapping is performed in silence, in an attempt to direct mental focus to points of reference in-between the lines that are drawn, as well as physical attention to the movement of feet when following or deviating from those lines. Occasionally, rhythm is provided when voices echo the necessity of female narration, as articulated by the pioneering Swedish feminist Ellen Key in the year 1870.
Performance Installation: Sound, text, blue yarn, movement
Sound has been designed and edited together with Moa-Lina Croall.
Voices by Imri Sandström, Cristina Caprioli, Athena Farrokhzad and Hanna Wildow.
Graphics have been made together with Sara Kaaman.
Mapping Mourning is the fourth work in the series Affective Breaks. Framed as a performance installation, Mapping Mourning is Hanna Wildow’s invitation to the visitors to enter her process and draw maps of mourning together with her in the space. The map is generated with lines of blue yarn, gradually occupying the space throughout the week. Collectively, a timeline and a blueprint take shape – landscapes of love and loss; tales of crime and gladness; immortal places jointly recreated. A map of a mountain to get lost on.
The mapping is performed in silence, in an attempt to direct mental focus to points of reference in-between the lines that are drawn, as well as physical attention to the movement of feet when following or deviating from those lines. Occasionally, rhythm is provided when voices echo the necessity of female narration, as articulated by the pioneering Swedish feminist Ellen Key in the year 1870.
