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If earth were a body, borders would be wounds
This book complies texts and images that trace associative resonances of the project "Mirror Therapy" across political, historical and artistic bounderies. Texts by Francis McKee, William Butler Yeats, Amanda Parmer and Maria Lind are interwoven with the artist's found imagery distributed throughout the book.
The project was first shown 2015 at the Fotofrafiska Center in Copenhagen in the form of an installation with five abutting slide projections of thin slices of lapis lazuli. An online video (mirror-therapy.photography) and a series of collages linked geopolitical tensions to the phenomenon of 'phantom pain', which the neuroscientific practice of mirror therapy aims to alleviate.
The saw dust from the acts of slicing and polishing the stone slides - natural ultramarine pigment - was later used for a series of saltwater marblings. These took their cue from the literal meaning of ultramarine ('beyond the sea'), which denotes Afghanistan, from where lapis lazuli has been brought to Europe since the Middle Ages.
Mirror Therapy formed the basis for a research residency at Pivô in São Paulo during 2016, and an iteration of the project was shown at the 11th Gwangju Biennial 2016: "The Eighth Climate (What Does Art Do?)."
Imagining ways of substituting the human subject position with a terrestrial one, the project investigates the defult logics of human interactions with the material world. This book reconfigures the bodily, material and conceptual constituents of the project beyond the immediate confines of a physical artwork.
Table of Contents
‣ Long Distance Operators by Francis McKee
‣ Lapis Lazuli by William Butler Yeats
‣ Our Human Entangelments with Corporeal and Terrestrial Grounds by Amande Parmer
‣ Conversation between Maria Lind and Marie Kølbæk Iversen
The project was first shown 2015 at the Fotofrafiska Center in Copenhagen in the form of an installation with five abutting slide projections of thin slices of lapis lazuli. An online video (mirror-therapy.photography) and a series of collages linked geopolitical tensions to the phenomenon of 'phantom pain', which the neuroscientific practice of mirror therapy aims to alleviate.
The saw dust from the acts of slicing and polishing the stone slides - natural ultramarine pigment - was later used for a series of saltwater marblings. These took their cue from the literal meaning of ultramarine ('beyond the sea'), which denotes Afghanistan, from where lapis lazuli has been brought to Europe since the Middle Ages.
Mirror Therapy formed the basis for a research residency at Pivô in São Paulo during 2016, and an iteration of the project was shown at the 11th Gwangju Biennial 2016: "The Eighth Climate (What Does Art Do?)."
Imagining ways of substituting the human subject position with a terrestrial one, the project investigates the defult logics of human interactions with the material world. This book reconfigures the bodily, material and conceptual constituents of the project beyond the immediate confines of a physical artwork.
Table of Contents
‣ Long Distance Operators by Francis McKee
‣ Lapis Lazuli by William Butler Yeats
‣ Our Human Entangelments with Corporeal and Terrestrial Grounds by Amande Parmer
‣ Conversation between Maria Lind and Marie Kølbæk Iversen
51 pages, Paperback
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