Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision Next revisionBoth sides next revision | ||
shrines_house_spirit [2021-02-18 16:39] – rasa | shrines_house_spirit [2021-06-14 12:02] – rasa | ||
---|---|---|---|
Line 4: | Line 4: | ||
---- | ---- | ||
- | This page is a trace of the research and creation by **Rasa Alksnyte** with close involvement from **Pieter De Wel** and her beloved dog **Billy** about characters and personalities of House Spirits, their summoning and Shrines to care and worship them. This ongoing trajectory is supported by **wp Zimmer**, **FoAM Zenne** leading towards the final result to be presented at the Zwalm 2021 festival curated by **Croxhapox** | + | This page is a trace of the research and creation by **Rasa Alksnyte** with close involvement from **Pieter De Wel** and her beloved dog **Billy** about characters and personalities of House Spirits, their summoning and Shrines to care and worship them. This ongoing trajectory is supported by **wp Zimmer**, **FoAM Zenne** leading towards the final result to be presented at the **Zwalm 2021** festival curated by **Croxhapox** |
{{: | {{: | ||
Line 10: | Line 10: | ||
- | < | + | < |
</ | </ | ||
- | |||
- | |||
<fs large> | <fs large> | ||
Line 19: | Line 18: | ||
+ | |||
+ | |||
+ | ---- | ||
+ | <fs large> | ||
+ | |||
+ | |||
+ | ---- | ||
+ | <fs large> | ||
+ | </fs> | ||
+ | |||
+ | ---- | ||
+ | <fs large> | ||
+ | |||
+ | |||
+ | |||
+ | ---- | ||
+ | <fs large> | ||
+ | |||
+ | There is something attractively collective and democratic about public shrines. There is no one author of it. Only the initial form and invitation for action can be created by one person. What happens after is beyond control. Informal participation of passersby creates everchanging visual aesthetics and energetical charge. Respect for what is already there and negotiation where your contribution finds its place creates dialog. The constant accumulation of various objects adds strength and intensity to the experience. You are not alone yet your thought and action are as important as any other, represented in the shrine. | ||
+ | </fs> | ||
+ | |||
+ | |||
+ | ---- | ||
+ | |||
+ | <fs large>** A Shrine for Now** (working title) | ||
+ | |||
+ | |||
+ | Since very short I am a volunteer at a retirement home for people with dementia. There is a closed ward for patients with most advanced stage of this illness. Spending time there is touching, emotional and confronting. Will my parents end up like that? My friends? Myself? Being among these people is also very interesting and inspiring. As if humanity gets peeled off to its core. Only very basic mechanical actions are possible, only very basic true emotions. Some patients light up by hearing their name or a sentence in their mother tongue, others burst in tears from recognising their favourite melody or a face in the picture on the wall. All of them live in that one exact moment, the moment when the mind is still capable to make sense of what’s around them. Moment of epiphany. And then they sink back into the unknown. In this ward there is very little of yesterday and there is no tomorrow. If you can enjoy beauty, warmth, touch and happiness you have to enjoy it now. Because Now it’s all there is. | ||
+ | |||
+ | |||
+ | </fs> | ||
+ | ---- | ||
+ | <fs large> | ||
+ | I would like to invite to take a moment and think of Now. What is there around you? Do the traces, stories, images and symbolic representations of my encounters with Zwalm inspire or question your state of being? Is there something that bothers you or makes you smile? What thoughts deserves your time and attention? Is there something you want to tell your partner, friend, child, parent but are waiting for the right moment? Perhaps that time is Now? As for Now is the best time there is. | ||
+ | </fs> | ||
+ | |||
+ | |||
+ | ---- | ||
+ | <fs large> | ||
+ | |||
+ | A large, old, wooden wardrobe is installed in a young forest behind the villa “Vrede”. It serves as the casing for the shrine. The inside panels of the wardrobe are created by stone printing the graveyards, brick walls and other surfaces in the surroundings of Zwalm. The words and patterns from the stones are applied on a big canvas and placed inside of the wardrobe to create a clear environment for the shrine to be. From the random conversations with local people important keywords about their experience of happiness, joy, fun and good times are written (or printed) on the tracing paper and layered on top of the canvas. Pictures, donated magazine or newspaper snippets fill the empty gaps to create visual accents of the total image. Discarded broken objects gets collected and transformed into a number of small figurines as a symbolic representation of different characters and experiences. These hangs or are placed in the wardrobe accumulating volume and forming a sense of mystery. There are QR codes displayed among the images and objects linking to the pictures and the stories of the exact locations in Zwalm. In the drawers of the cupboard more of the broken/ | ||
+ | |||
+ | </fs> | ||
+ | |||
+ | |||
+ | ---- | ||
<fs x-large> | <fs x-large> | ||
+ | |||
+ | ---- | ||
+ | |||
<fs large> **-Presence of body parts in a shrine as an association with the physical remains of spiritual creature.** | <fs large> **-Presence of body parts in a shrine as an association with the physical remains of spiritual creature.** | ||
Line 27: | Line 75: | ||
As an example: The bones and teeth of the body of the Buddha that remained after his cremation have become objects of great veneration because they enable the devotee to link the meaning of the Buddha' | As an example: The bones and teeth of the body of the Buddha that remained after his cremation have become objects of great veneration because they enable the devotee to link the meaning of the Buddha' | ||
+ | |||
+ | ---- | ||
<fs large>** -Shrines at intersection of nature and culture.** | <fs large>** -Shrines at intersection of nature and culture.** | ||
Line 35: | Line 85: | ||
| | ||
+ | |||
+ | ---- | ||
<fs large>** - Shrines as a trajectory for movement.** | <fs large>** - Shrines as a trajectory for movement.** | ||
Line 44: | Line 96: | ||
{{ : | {{ : | ||
+ | |||
+ | ---- | ||
<fs large>** -Street shrines as artefacts of visual culture.** | <fs large>** -Street shrines as artefacts of visual culture.** | ||
Line 51: | Line 105: | ||
+ | |||
+ | ---- | ||