www.lissywillberg.info

What is the horizon more than two curved lines lovingly embracing you, 2023

Matadero Intermediae (ESP)
Performance, 18’00’’

[1] One of my preoccupations as a sound and movement artist is the exploration of (im)possible demarcations between culture, nature and technology. At the Institute for Postnatural Studies I engaged with geological maps and western notions of space and orientation. With mapping technologies as an example, simple questions appeared, such as: Where does “I” end?

(communality and co-existence)
Where does “I” end? Where does landscape, environment, or “the more” begin? Addressing the topic of co-existence: let us think about and through body relations, replacing the hegemony of a vertical, able-bodied, knowledge-production-machine with horizontality, with getting closer to the ground(s) and closer to what surrounds, births and exceeds the human realm. Let us learn and reconfigure languages to express situatedness that is not solely occupied with one’s own human existence.

(notions of ground-ing)
Linear perspective, a world (view) rooted in Euclidean geometry, establishes the ground as x-coordinate. But, who has access to such stability? The ground(s) on which you are now located used to be the river bank of the Manzanares River. The embedded stones are remnants that used to guide the flow of the river in its city section. They are of granite and originate from a quarry of the Sierra de Madrid, just outside the city.

(cartography and choreography)
The timeline of European cultural tradition classically starts in Ancient Greece. Until the 19th century, the notation of ceremonial and ritual movements or dance sequences was called choreography. While today it is not the recording, but the practice of composing movement and form, that is called “choreography.” Unlike contemporary maps, which claim to capture landscape objectively, an individual movement notation does not prescribe its reading.

[2] Performers: Sarafina McLeod and Lissy Willberg