from Doggerland is a shared practice by Gemma Gore (UK) and Jo Willoughby (NL). With a practice-based-research approach, we study states of suspension throughout the submerged metaphysical site of Doggerland.
Enquiring with our research questions: Does the intertidal live within us? If we perceive the marsh or the estuary ecotones as liminal, how might this in-betweenness or transitional place become a site for complex understandings of climate change, climate grief, climate hope and climate action?
We explore the ecologies that our digital and in-real-life correspondences touch as we connect through cultures of water. Our website changes, a kind of durational performance like the sea, it continues to shift, ebb and flow, we use it as a studio space stretching across time and space.
This ecosexual wedding performance took place at the Great Salt Lake in 2021, near the iconic land art sculpture Spiral Jetty (1970) by Robert Smithson.The ceremony was graced by the presence of Annie Sprinkle and Beth Stephens who launched the ecosexual movement in art, and was carried out in collaboration with Bonnie Baxter and Jaimi Butler, the scientists from the Great Salt Lake Institute, Westminster College, in Salt Lake City. Joy Brooke Fairfield directed the wedding performance under the difficult circumstances of heat and drought the unique body of GSL water is now experiencing due to climate change.
Through this performance, humans were married to the tiny crustaceans the whole GLS ecosystem depends on. The brine shrimp brides were represented digitally through the Augmented Reality application Artemia designed to visualize these aquatic wildlife critters in contrast to modern science’s goals and consumer imagery of the Sea Monkeys, a commodified instant life-form. The wedding prioritized the representation of the multispecies community and connected ecosexual to hydrofeminism. It emphasized the need for alliances between artists and scientists to make brine shrimp lovable and visible in cyberspace beyond the global brine shrimp farming industry.
The discovery of one of the districts of Jelenia Góra (Poland) encapsulates the issues of Polish national memory on a microscale. The district, which once held a concentration camp within its boundaries, is a post-traumatic space. More than 32 families live there today. Studying the visual aspects of both the camps and the modern residential area architecture reveals deep ties between the modern-day landscape and the historical trauma that permeates it. Differences in the architecture of these two periods reveal how the local residents’ identity was being built. The purpose of this project is to ask whether the lack of cues that would connect the modern-day community to the space unique history is laying a false fundament that makes it more difficult to cope with the trauma, or whether, perhaps, it liberates the community from the traumatic memories hegemony, allowing them to reclaim the space and define it as they wish, leaving history behind.
The well’s design is a symbolic exoneration of the negative housing zone. The water drawn out of the well is natural mineral water with healing powers. Their presence is a perverse sign of changeable nature, almost following the pattern of the inhabitants of the district. The well is made of granite (prisoners of the camp worked on the extraction of this stone), and at the same time it is the principal ingredient of mineral water.
Work shows the area from 1944 (during the existence of the concentration camp) and images of the district of the “Fampa” at Wojewódzka Street in 2018.