I work with mapping and listening as a choreographic tool for navigating and getting lost in the everyday. I explore the potential for conscious listening as a means of traveling, where maps serve as a record of the knowledge gained through listening. This approach to mapping is a de-colonial practice, as intuition and the senses guide mapping instead of the traditional method of drawing lines on paper.
The Caribbean poet and philosopher Eduard Glissant discusses the concept of "Errance" or wandering, where the journey is not simply aimless roaming but rather an endeavor with a sacred purpose. This approach allows for an understanding of the greater whole while renouncing the desire to fully comprehend or possess it.
Mapping provides the tools to envision and create alternative worlds, breaking social norms and patterns of movement in a given place to forge new connections. I draw inspiration from the French Situationist technique of "Dérive" or "drifting," which was used as a critical tool for analyzing the impact of the physical environment on emotions and behavior.
My work also focuses on the idea of entanglement, the invisible connections that bind us together, both at the atomic and universal level. I explore the concepts of Karen Barad's Entanglement of Matter and Donna Haraway's entangled post-human creatures. Mapping is a means of entangling and connecting seemingly disparate geographies, similarities, and coincidences shared by people, objects, and creatures. It is a process of familiarizing oneself with the environment through the use of the senses, such as touch, smell, and taste, and listening to the connections between all things.
This approach to mapping can be considered a form of moving meditation, applicable in any location, whether known or unknown. Hakim Bey writes about intentional travel through a "magical" worldview, where reality is viewed as a series of signs and wonders, meaningful coincidences, and unveilings. This perspective transforms even the mundane into something extraordinary, where every window becomes a frame, every stranger a captivating actor, and every object a beautiful sculpture. I aim to approach my travels with attentiveness and generosity, not through consumption but through reciprocity.
The mapping has been done as
- a residency and exhibition in Messejana, Portugal, Buinho art space 2018
- essay, "HABITUAL TOUCHES (carvings) of beings, sculptures and meteor falling coincidences" 2019
-a residency, workshop and performance together with artist Elina Birkehag at NCCA St. Petersburg, Kronstad Russia 2019
ATLAS OF MESSEJANA
is an exploration on mapping a field, an unknown place through choreographic scores
2018
Mapping and getting lost
Workshop at SDVIG st. petersburg 2019
HABITUAL TOUCHES (carvings) of beings, sculptures and meteor falling coincidences is a choreographic exploration on the collective traces of our existence as an object of curiosity
2019
