low low below
Sep 2023
Residency The Orange Tree Art Foundation
Graphic design: Anna Bierler
Sound: Colette Aliman
low low below is an artistic and literary research project exploring how mythological narratives influence Dutch perspectives on land reclamation and the climate crisis. Through a blend of historical and artistic research, myth writing, and an interactive treasure hunt, the project examines how mythology can mend contemporary relationships with nature, fostering a deeper connection to its wisdom.
PROJECT DESIGN:
The project comprised of lead cast spirits which were inspired by nature spirits from ancient mythology set within Northern European landscapes. These spirits were buried in the garden of The Orange Tree Art Foundation to depict the connection to the land that humanity has, and to explore what it means to find spirits amongst nature again.
The project also featured poetry and a myth that was written to express my research and feelings towards our broken relationship with nature. These texts also acted as guides for the audience during the treasure hunt.
The project culminated in a treasure hunt where audiences had to search the garden to discover the traces of the myth which frames them within the garden on that specific day in history, as well as the spirits underground. Due to the spirits' metallic composition, the treasure hunters used metal detectors to find the spirits within the ground. The hunt was supported with an immersive soundtrack and ended with a collective reading of the myth and presentations of the spirits that people found.
RESEARCH:
With approximately 65% of the country at risk of flooding without human-engineered interventions, the Dutch grapple with a battle against the sea. Utilizing ancient myth-telling techniques, the project narrates a contemporary story of survival in the face of this ongoing struggle. Participants embark on a curated treasure hunt within a garden on reclaimed land, uncovering a myth pivotal in a larger mythological storyline.
Challenging prevailing cultural narratives like "God built the world but the Dutch built the Netherlands," the project rewrites them within a comprehensive mythological framework that restores autonomy to nature. Introducing a fresh perspective on the Dutch connection with the sea, it questions binaries and hierarchies embedded in contemporary Dutch narratives about nature. By reframing the prevalent tendency to mute the voice of land and nature, effectively metaphorically and literally colonizing it, the project prompts a reevaluation of the significance of human interventions in geographical landscapes. This, in turn, offers insights into the intricate dynamics between humanity and the environment, particularly in the context of the challenges posed by climate change.
THE MYTH:
In a land, low low below sea level, there existed people who dwelled on watery swamplands and thickety forest fields. Sprouting along the edges of the sea, the people lived in constant fear of the tempestuous waves, for the sea was a powerful and unpredictable force. Their homes and fertile fields were often claimed by the waves, and the people yearned for a way to reclaim their land and improve their quality of life.
In this age of uncertainty, an ambitious wiseone, known for innovation and ingenuity, embarked on a journey to seek counsel. Passing through village after village, many answers were proposed— build a dam, dykes, windmills to drain swamplands, push back the sea and further water from us.
The planning and search for safety and riches continued until a constellation of engineering ingenious could keep the sea away forever— all went well, until one day, deep within an ancient forest, next to a mysterious swamp, the wiseone found communion with some spirits, who revealed a profound secret.
"The sea," they whispered, "holds both life and death. It is the domain of spirits untethered, souls lost in its boundless depths. To reclaim your land, you must always remember to commemorate and appease the spirits of the sea."
With this newfound wisdom, the constellation was complete and the wiseone returned to the people and shared the spirits' message. Inspired by these words, the lowlands people embarked on an endeavor that would change the course of their history. They began to drain the sea, using a vast network of canals and ingenious windmills, crafted to pump the water back into the sea. By freeing up land, they could become more productive, procure more gold. The gold would bring them joy and so they could commemorate and appease the spirits their due, through gratitude. Given that the spirits were on their side, they felt invincible and proud of their ingenuity.
As they drained the waters, they gained vast riches and blossomed as a population. New ideas followed the developments, and the concept of higher powers became embodied in large churches and institutions. Surely the spirits should be happy for this, the people thought, as they attended worshiping hours and spoke worshiping prayers. Time passed and the developments were vast— so vast that the spirits of the sea grew nervous. These ancient beings, both benevolent and vengeful, found themselves displaced from their watery abode. Some chose to depart peacefully, ascending to the heavens to join the pantheon of celestial deities, while others clung to the land, their ethereal presence interwoven with the very soil.
To adapt to the big changes, the spirits, tethered to the earth, gained a new purpose and became guardians of the newly claimed land, watching over the fields and villages that emerged from the receding waters. On good days, they whispered wisdom into the ears of kind farmers, guiding their plows and ensuring bountiful harvests. They whispered warnings to the sailors, steering them clear of treacherous waters and storms.
But, as with all spirits, they held a duality within themselves. Most all spirits never quite got over the nervousness that the huge developments instilled in them. Those who harbored bitterness for their displacement could also bring about misfortune and chaos, reminding the lowlands that the sea was never truly conquered.
In this myth, we find a warning about the eternal struggle of humanity against the forces of nature, and the delicate balance between the earthly and the ethereal. The spirits buried within the ground serve as a reminder of the sacrifices made to shape the Netherlands, a testament to the enduring connection between the land, its people, and the spirits that dwell within its depths.
CURATORIAL REFLECTIONS
Framing Nature as Art
The project "low low below" ventured beyond the confines of traditional curatorial practices, daring to rupture the boundaries of the sterile, controlled environments typically associated with art exhibitions. Instead of the familiar white cube of a museum, it boldly embraced the unruly and dynamic setting of nature within the garden of the Orange Tree Art Foundation.
In this unconventional exhibition space, nature itself became the canvas, challenging viewers to reconsider their preconceived notions of what constitutes art. While it's crucial not to reduce nature to mere decoration, this innovative approach prompted a moment of contemplation, inviting us to recognize nature as an integral part of humanity's cultural dialogue. It acknowledged the reality that many natural landscapes we encounter today have been shaped and manipulated by human intervention, blurring the lines between wilderness and human influence.
By framing the meticulously designed garden as a work of art, the curatorial intervention emphasized the importance of stewardship and mindfulness in our relationship with the environment. It encouraged viewers to perceive their surroundings not merely as passive scenery, but as entities deserving of care and consideration.
The treasure hunt embedded within the garden added another layer of complexity to the experience, mirroring the structure of a traditional curatorial tour. Participants embarked on a quest, uncovering hidden treasures and unraveling the mysteries of the garden. This playful mimicry of museum behavior served to highlight the interconnectedness between humanity and nature.
Furthermore, by equipping visitors with the tools to make their own discoveries within the garden, the project empowered them to recognize their agency in shaping their environment. This acknowledgment of individual participation underscored the symbiotic relationship between humans and nature, inviting contemplation on our role as custodians of the Earth.
In essence, "low low below" challenged conventional curatorial practices by expanding the concept of art beyond the confines of a gallery space. It invited viewers to engage with nature as a living, breathing artwork, fostering a deeper appreciation for the intricate connections between humanity and the natural world.
