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Mapping Spectral traceS2010


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An exhibition o recent work by:

Chris Baeumler

Iain Biggs

Laurie Beth Clark

Glgn Kayim

Rebecca Krinke

Mary Modeen

Mona Smith

Judith ucker

Dane Webster

Edited by Karen E. illCurated by Deb Sim, assisted by Morgan Sayers and Karen E. ill

Mapping Spectr al traceS2010


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All Rights Reserved.

No part o this publication may be reproduced in any matter whatsoever without permission in writing rom Virginia echs College o Architecture and Urban Studies.

ISBN-13

978-0-9793684-2-4

ISBN-10

0-9793684-2-1

Copyright 2010

Virginia ech College o Architecture and Urban Studies Virginia ech202 Cowgill Hall (0205)

Blacksburg, VA 24061 USA

(540) 231-6414

Printed in the United Kindgom by CMP (uk) Limited

Designed by Somiah Muslimani, Virginia ech

Cover Art:

Front Cover: Iain Biggs 2010, Digital collage or Uplands (dreams, memories, spectral traces)towards a case history.

Inside Cover: Glgn Kayim 2007, Te DMZ: Abandoned urkish village, Paramalli, Greek side, Cyprus.

itle Page: Judith ucker 2008, Platorm 1935 (i). Oil on Canvas, 50x40cm.

able o Contents: Mary Modeen 2009, Dawning. Limited edition digital photographic print with photography, watercolor, and oil paint, 22x30inches.

Inside Back Cover: Christine Baeumler 2010, Chestnut Headed Oropendola, Natural History Museum, Lima, Peru. Ink, oil, and enamel on aluminum photo plate, 30x40inches.

Back Cover: Rebecca Krinke 2010, Unseen/Seen: Te Mapping o Joy and Pain, vertical sculptures (detail).


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1 Mapping Spectral races, Karen E. ill

5 Deep Mapping: An introduction, Iain Biggs

9 Deborah Sim, Armory Gallery

11 Mary Modeen, Landscapes o Memory and Epiphany

13 Judith ucker, Postmemorial Landscapes: Places in Play

15 Deborah Sim, Experiential Gallery

17 Chris Baeumler,Amazon Visions, Vanished Acts

19 Iain Biggs, Uplands (dreams, memories, spectral traces)towards a case on history

21 Laurie Beth Clark, Places o Memories

23 Glgn Kayim, Voices rom the DMZ

25 Rebecca Krinke, Unseen/Seen: Te Mapping o Joy and Pain

27 Mona Smith, Cloudy Waters

29 Dane Webster. Virtual Jamestown: Te Paspahegh Site

31 Artists Short Biographies

34 Exhibition Details

35 Major Sponsors


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When I raised the possibility o hosting exhibitions in coordination with the 2010 Virginia

ech Humanities Symposium with Proessor ruman Capone, director o the School o

Visual Arts at V, and Deb Sim, head curator o the Armory and Experiential Art Galleries,

they both immediately understood my vision and provided the leadership and proessional

acumen to make the exhibitions possible. I am grateul to them both or their generosity and

mentoring. Without the local advice and experience o Proessor Betty Fine, I would not

have been able to coordinate this ambitious project. In addition, the excitement and support

o Dr. Iain Biggs o the PLaCE Research Center, Dr. Judith ucker o Land 2, and Dr.

Christine Baeumler in the Department o Art o the University o Minnesota, proved to be

invaluable in making this years symposium a possibility. Special thanks also to Debs assistant

Morgan Sayers, the striking catalogue design and layout created by Somiah Muslimani,

Director o FourDesign, and Emily Applebys invaluable help in organizing the smallest

details o these events. Dr. Victoria Walters at PLaCE also provided invaluable support and

co-ordination in the UK.

I am especially grateul or the support provided by the numerous sponsors o this

years symposium, and its related exhibitions and catalogue. Te Humanities Symposium

is unded by the College o Liberal Arts and Human Sciences (CLAHS); Dean Sue

Ott Rowlands generously provided additional support or this years event. Te PLaCEResearch Centre, Faculty o Creative Arts, Humanities and Education at the University o

the West o England, Bristol, and Land2 were also major unders o the catalogue and key

partners or the symposium. At V, the School o Visual Arts (SOVA) and the Armory

and Experiential Galleries supported these artists, and related classroom and exhibition

activities, as part o their Visiting Artists Series. At V unding was also generously provided

by the College o Architecture and Urban Aairs (CAUS); Institute or Society, Culture

and Environment (ISCE); School o Public and International Aairs (SPIA); Alliance

or Social, Political, Ethical, and Cultural Tought (ASPEC); Vice Presidents Oce o

Outreach and International Aairs; Center or the Arts; Women and Minority Artists and

Scholars Lecture Series; Institute or Policy and Governance; Department o Landscape

Architecture; University Honors; University Library Digital Collections and Archive.

We are also grateul or additional contributions rom the School o Design, University

o Leeds; the Duncan o Jordanstone College o Art & Design, University o Dundee,

Scotland; and the University o Minnesota. We wish to thank also our local partners,

including the own o Blacksburg Museums, the Christiansburg Institute, Roanoke Public

Libraries, the Hurt Park and Gainsboro Neighborhood Associations, otal Action Against

Poverty, the inner Hill Heritage Foundation, and Blue 5 Restuarant.

A special recognition is, o course, extended to the visiting and local artists whose work

will no doubt inspire the many visitors that will visit these galleries and catalogue pages to

think dierently about the many worlds we inhabit.

adms


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Mapping Spectral races is an international and interdisciplinary Virginia ech

Humanities Symposium and exhibition series that considers how dicult pasts can be

researched, documented, represented, and animated in responsible and ethical ways.

Held at historic, educational, and artistic venues in Southwest Virginia, the series

calls on Virginia ech aculty and students, local community members, and invited

international artist-scholars to engage with a larger public to consider and develop

socially engaged and creative research practices that might enable us to become

witnesses o the geographies o loss that continue to structure local and global worlds.

Te range o events and venues, and orms o collaboration and conversation is intended

to allow participants to explore multi-sensual aesthetic orms, alternative narratives, and

activist topographies that delve into terrains not usually observable on Cartesian maps.

International and local artists, scholars, and practitioners will consider the ollowing

questions: How might we listen to and recognize stories, remnants, and submerged

ways o knowing as unresolved remainders o memory? What might mappings that

are sensitive to past injustices look, sound, and eel like? Might there be approaches to

environment that treat ground as home and resting place, as thresholds through which

the living can make contact with those who have gone beore?

Te 2010 V Humanities Symposium builds upon earlier studios and humanities

symposia at University o Leeds, University o West England Bristol, University o

Minnesota, and Virginia ech.Mapping Spectral races will develop a new international

network between these partner institutions that seek to promote respectul ways o

knowing, acknowledging, representing, and mapping spectral traces through various

media, creative and community-based projects, and publications.

On behal o the visiting artists, as well as all the V aculty, artists, and students

involved inMapping Spectral races, we hope that you will enjoy these two exhibitions.

Karen E. ill, Symposium organizer

Associate Proessor, School o International and Public Aairs

ASPEC Aliate Faculty

Virginia ech

September 2010

Fd: M cs

Laurie Beth Clark 2008, Rwanda; Glgn Kayim 2007, Abandoned urkish village o Paramalli, Greek side, DMZ, Cyprus;

Mary Modeen 2010, Vestiges; Dane Webster 2010, Virtual Jamestown: Te Paspahegh Sitescreen capture rom real-time

visualization 2010; Mona Smith 2010, Presence, perormance at Mill City Museum, Minneapolis.


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How have residual marks been created, let, and remembered? How might

we conceptualize these aterlives and eects o experiences, perceptions,

processes, and events? races acquire meaning through acts o discovery,

juxtaposition, re-presentation, and relocation.2 I traces are present yet not

always visible, dene the thing through a web o relations between the

listener and teller yet are not animated until they come alive in particular

settings, are always already known but not recognizable until they are

brought out again in yet new but amiliar orms, then the concept o

spectral traces may provide us with a language o belonging, even as such

traces speak o past loss.

Spectral traces, especially at places marked constitutively by acts o

violence and injustice, oten re-emerge when a society is undergoing change;

individuals may come into contact with past lives through objects, natures,

and remnants that haunt the contemporary landscape.3 In zones o transition,

these (re)discovered traces complicate linear narratives, our habitual paths,

and the circulation o capital. Indeed, spectral traces are not easily exorcised

as Nicolas Abraham and Maria orok remind.4 Memories and traces o

displacement in particular have the potential to disrupt established zones o

social identity, allowing the excluded to re-imagine how they might inhabit

the spaces rom which they and their ancestors were removed.5

MappingSpectral

traceSKaren E. illTe storytelling that thrives or a long time in the milieu o workrural, maritime, and then

urbanis itsel an artisanal orm o communication, as it were. It does not aim to convey the pure

in itsel or gist o a thing, like inormation or a report. It submerges the thing into the lie o the

storyteller, in order to bring it out o him again. Tus, traces o the storyteller cling to the story the

way the handprints o the potter cling to a clay vessel.

Walter Benjamin1

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Place making oten results rom cultural practices that delimit social

relations to the past and uture. When we also care or places, we may

begin to acknowledge the ways that spectral traces structure our lives and

worlds. For Michel de Certeau, Luce Girard, and Pierre Mayol, all places

are haunted by ghosts.6 I places can be seen as thresholds through which

the living can connect to the voices, imprints, and inheritances o those

who have gone beore, then a signicant part o caring or place, I would

argue, is to create the spaces and times or ghosts and or what Edward

Casey describes as the unresolved remainders o memory.7 Casey notes

that unresolved remainders o memory all outside o the supposed lucidity

o consciousness and exist beyond the ormal realms o commemoration

and narrative. Such remainders constitute the social realities o place;

their resonance orms an aective network

granting thick meaning to an inhabitants

experience o belonging. Caring or place,

then, invites an ethical relationship with

spectral traces and recognizes how these past

presences occupy the realities o our lived

worldseven while we also understand

them as existing elsewhere, beyond the

realms o the living.

Te taken-or-granted qualities o place

may be unsettled as a society witnesses,

listens to, and acknowledges how spectral

traces belong to the present day and a

societys possible utures. But how might weattend to phantoms, stories, remnants, and

submerged ways o knowing as unresolved

remainders o memory? Might there be

practices that treat our environments as

homes and resting places through which the

living make contact with those who have

gone beore?8 What might alternative maps

look, eel, and sound like?

Attempting to map spectral traces mayinitially seem counterintuitive. All maps are

models o the world, selective representations

o the data and sites considered most relevant by their makers. Tey present

the user with place guides as well as spatial imaginaries. But when the sites

to be mapped only exist through acts o discovery, when the places to be

depicted are haunted by loss, when the map-maker cannot or does not

want to distinguish the past rom the present, or when the viewer desires

to nd presences that cannot be represented in Cartesian space, then the

practice o mapping might allow us to orient ourselves to the unexplored

potentialities o space, time, aect, spirit, and materiality in the pursuit

o social justice. When understood as a spatial and cultural practice,

mapping, much like Benjamins description o storytelling, does not

seek to capture the pure essence or gist o the thing. It does not seek

to represent the world according to inormation that is understandable

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in itsel.9 Rather, through the act o mapping one seeks to ollow the

multiple spatial-temporal pathways o the thing and see what happens

when material and spectral traces (remnants, clues, imprints, routines,

Spuren, silences) are tracked; when (and where) the matter, places,

and human and non-human lives that went into the making o the

thing are recognized; and when the peoples, institutions, places, and

environments that have in some way been aected by its presence in

the world are respected. Trough the practice o mapping spectral

traces, we might begin sketching contours that connect lives and places

in one time to those understood as being located in another.

Such mappings o the moments, movements, and lives o traces

across and through time is an open-ended project. Iain Biggs, and

Mike Pearson and Michael Shanks deep mappings, Julian Jonker

and my spatial concepts o memorial cartographies and haunted

archaeologies, revor Paglans project o experimental geography,

and Lize Mogel and Alexis Bhagats activist radical cartographies

provide us with examples o mapping practices that interweave the

historical with the contemporary, the political with the lyrical, the

actual with the ctional, and the discursive with the embodied

in ways that make unexpected connections.10 In so doing, these

mappings oer alternative spatial and historical imaginaries that dey

hegemonic discourses o globalization and narratives o progressive

inevitability. Tese scholarly, creative, and activist projects attempt

to sketch out the complex pathways o political struggle and social

trauma, joy and pain, mourning and memory, and invite us to engage

our sense memory so that we may begin to understand our worldthrough what Jill Bennett describes as empathic vision.11

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NOES

1. Walter Benjamin, 1936, Te Storyteller: Reections on the Works o Nikolai Leskov, reprinted inWalter Benjamin: SelectedWritings: Volume 3: 1935-1938, Howard Eiland and Michael Jennings, Ed., transl. rom the German by Edward Jephcott, Howard

Eiland, and Others (Cambridge, MA: Belknap Press o Harvard University Press, 2002), p. 149.

2. Karen E. ill, 2005,Te New Berlin: Memory, Politics, Place (Minneapolis: University o Minnesota Press), especially pp.208-214.

3. Much o this essay draws heavily upon the work o Julian Jonker and Karen E. ill, 2009, Mapping and Excavating Spectral

races in Post-Apartheid Cape own,Memory Studies2 (3): 303-335, especially pp. 305-308.4. Abraham Nicolas and orok, Maria,Te Shell and the Kernel: Renewals o Psychoanalysis, Ed. and transl. rom the French by

N.. Rand (University o Chicago Press, 2004).5. Jonker and ill, Mapping and E xcavating Spectral races, p. 307.

6. De Certeau, Michel, Girard, Luce and Mayol, Pierre, 1998, Ghosts in the City, InTe Practice o Ever yday Lie: Volume 2:

Living and Cooking(Minneapolis: University o Minnesota Press), pp. 133-144.

7. On place, see: Karen E. ill, 2008, Artistic and Activist Memory-Work: Approaching Place-based Practice,Memory

Studies 1(1): 99-113; Yi-Fu uan, 1977, Space and Place: Te Perspective o Experience(Minneapolis: University o Minnesota Press).

On making space or ghosts, see ill, Te New Berlin. Edward Casey, 2000, Remembering: A phenomenological study(Bloomington:Indiana University Press, second edition).

8. Ater Jonker and il l, Mapping and Excavating Spectral races.

9. For Benjamin, inormation lays claim to prompt veriability. Te prime requirement is that it appear understandable in

itsel. Benjamin, Te Storyteller, p. 147.

10. Iain Biggs, 2010, Deep Mapping: An Introduction, this volume; Jonker and ill, Mapping and Excavating Spectral

races; Lize Mogel and Alexis Bhagat, Ed. 2008,An Atlas o Radical Cartography(Los Angeles: Journal o Aesthetics & ProtestPress); revor Paglan, 2008, Experimental Geography: From Cultural Production to the Production o Space, inExperimental

Geography: Radical approaches to landscape, cartography, and urbanism, Nato Tompson and Independent Curators International, Eds.

(New York: Melville House and ICI), pp. 27-33; Mike Pearson and Michael Shanks, 2001, Teatre/Archaeology(London and NewYork: Routledge).

11. Jill Bennett, 2005,Empathic Vision: Aect, rauma, and Contemporary Art(Stanord University Press).

Photo credits: p. 1, 3-4: Karen E. ill, Memory Methodology workshops, District Six Museum Cape own 2004.

p. 2: Perormance artist anya Heyward in site, Melbourne Watch House, 2006 alya Chale. Photograph by Bronwyn Pringle,courtesy o the artist.

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In the USA, deep mapping is oten described as an intensive

topographical exploration o a particular (oten small, rural) place,

using engaged documentary writing o literary quality, sometimes

combined with photography and illustration. However it is as much

a critique as an extension o conventional topographic work and in

its radical orm is a collaborative process that challenges distinctions

between academic and artistic outcomes, between healing ctions

and scholarly critique, between amateurs and proessionals. As such it

implies an engaged pedagogic practice in the widest sense.

I understand deep mapping as using practices drawn rom

literature, perormance, and the visual arts to evoke the warp

and wet o materials, perspectives, and temporalities that make

up a place. It combines something o the social aspirations set

out in Mary Watkins and Helene Shulmans owards Liberation

Psychologies with the concerns o Avery F. Gordons Ghostly

Matters: Hauntings and the Sociological Imagination by deploying

testimonial imagination to recongure the connectivities between

communities, activism, memory, social psychology, and the

arts.2 It intervenes in the process o time-mapping by which

communities construct and locate values through remembering

and orgetting so as to mediate between site, spectral traces

those lingering traces o past lives that haunt particular places

and communities. As Julian Jonker and Karen ill have argued, it

draws attention to what is temporally and spatially out o joint,

not easily exorcised by orthodox memorial narratives, historicalaccounts, commercial constructions, or other ways by which the

living delimitplace to t their own needs.3 Its ability to destabilize

existing territories and presuppositions makes deep mapping a

potent catalyst or social change but, while it may engage with

ghosts, it requires a partiality to the living in witnessing, evoking,

and transorming multiple testimonies rom the past so as to

enact constructive reconciliations in the present.4

Deep mapping is oten seen as originating with Wallace Stegners

1955 Wol Willow: A History, a Story, and a Memory o the Last Plains

Frontier, although one might trace its impulse back to Toreaus

Walden.5 Stegners book oered a point o departure or William

Least Heat-Moons 1991 publication PrairyErth (a deep map), which

explores Chase County, Kansas as the last remaining expanse o tall-

grass prairie in the USA.6 Least Heat-Moons deep mapping can be

read as a development o Stegners approach, linking environmental

concerns, participatory history, and a questioning playulness

indebted to Laurence Sternes nine volume Lie and Opinions o

ristram Shandy, Gentleman, published between 1759 and 1767, to

interweave geography, history, oral testimony, geology, ethnographic

material, memoir, natural history, journalism, travelogue, autobiography,

experiments in attention and perception, and much else besides.7

Michael Shanks, now Proessor o Classical Archaeology at

Stanord University, has claimed (in a web reerence now deleted)

that he and Mike Pearson invented the concept o the deep

map in 1994 (ater William Least Heat-Moon). However, John

Copper Powys 1929 Wol Solentand 1932A Glastonbury Romance,

Alan Garners 1960 Te Owl Service, and im Robinsons workon the Isle o Aran all anticipate aspects o deep mapping as it is

practiced in the UK.8 In perormance and archaeological circles

Deep Mapping:

Landscapes reuse to be disciplined. Tey make

a mockery o the oppositions that we create

between time [History] and space [Geography],

or between nature [Science] and culture [Social

Anthropology].

Barbara Bender1

a brieF introDuctionIain Biggs

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deep mapping reers primarily to site-based perormancesalso called theatre/archaeology

or perormance archaeologyby Mike Pearson, Michael Shanks, Cliord McLucas, and

the radical Welsh perormance group Brith Go, co-ounded by Pearson and Lis Hughes

Jones in 1981.9 Te company pioneered perormance dealing with place, identity, and the

role o spectral traces in strategies o cultural resistance and community construction.

Pearson and Shanks gave deep mapping a specically archaeological orientation, evoking

eighteenth century antiquarian approaches to place, which included history, olklore,

natural history and hearsay, and stating that it:

attempts to record and represent the grain and patina o place through

juxtapositions and interpenetrations o the historical and the contemporary, the

political and the poetic, the discursive and the sensual; the conation o oral

testimony, anthology, memoir, biography, natural history and everything you

might ever want to say about a place 10

Shanks and Pearsons archaeological reading oPrairyErth interacted with the specic

cultural understanding o place given by the Welsh terms y lltir sqwar(the square mile),

yo ro (neighbourhood, home district, Heimat), and cynen (habitat) that evoke the matrix o

particular olds and creases, the vernacular detail, which attaches us to place. 11 Ater McLucas

death in 2001, members o Brith Go went their own ways. Mike Pearson continued to develop

site-based perormances, as documented in his book In Comes I: Perormance, Memory and

Landscape.12 Here he draws as much on the cultural thinking o Raymond Williams as on

ideas developed with Shanks. While there are some parallels between Pearsons work and the

psycho-geography o Iain Sinclair, Peter Ackroyd, and W. G. Sebald, his commitment to place-

based perormance, and his close attention to the ghosts, ailures, and double meanings that

haunt the excavation and archiving o all our lie perormances, continues to challenge any easy

categorization o his work. Pearson, Shanks, and McLucas approach to deep mapping can also

be linked to Gemma Fiumaras critique o the academic privileging ospeakingover listening,

when listening is understood as heeding, hearkening, or attending to what is not captured by

disciplinary categories.13 Deep mapping advances Fiumaras critique o the ever-increasingormalization o specialist languages that conceals the problem o reciprocity between dierent

elds o research and, in so doing, helps put in question what Doreen Massey calls the elitist,6


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exclusivist, enclosures within which so much o the production o what is dened as legitimate

knowledge still goes on.14 As such it exposes the monotony o so-called theoretical contrasts which

perhaps only represent an archaic warlike strategy transposed into the realm o epistemology. 15

In this it coincides with ills understanding that artistic and political engagements with memory

through spectral traces can move them beyond claims to interdisciplinarity within academia

and, as a result, begin to demonstrate how we might develop more socially responsible research

practices within contingent rameworks o engagement that are inormed in equal parts by scholarly,

vernacular, and imaginal practices.16

Te concerns o deep mapping in its visual and perorming arts maniestations are best

indicated by Cliord McLucas text Tere are ten things that I can say about these deep maps.17

For McLucas deep maps appear in the interaction between three basic elements: graphic

or reestanding visual work; a time-based componentlm, video, perormance, or music;

and a database or archival system that remains open and unnished. He sees the process o

deep mapping as challenging our presupposition that knowledge is the specialist domain o

proessional experts and wants it to bring together the amateur and the proessional, the artist

and the scientist, the ocial and the unocial, the national and the local. McLucas also argues

that deep maps should be a politicized, passionate, and partisan evocation o a site, involvingnegotiation and contestation over who and what is represented and how. Deep mappings

should give rise to debate about the documentation and portrayal o people and places and be

unstable, ragile, and temporaryconversations not statements.

A chronological account o deep mapping cannot avoid being reductive in terms o wider

connections. For example, almost ten years beore the publication oPrairyErth, the Native

American artist Lewis DeSoto started on the ahualtapa Project(completed 1988). Te title

translates as Te Hill o the Ravens and reers to a mountain that is central to the lore o the

Cahuilla First Nation in the San Bernardino Valley in Caliornia. Tis had been extensively

mined or marble and cement to the point where much o it has been removed. Te installationcombines photographs, sculpture, maps, and plans or public art that evoke spectral traces so as

to destabilize the claims that legitimized this exploitation, claims implicit in the renaming o the

mountain Mt. Slover by European settlers. DeSotos exploration o this process and its physical

repercussions over time shows how cosmological belies are reected in naming and points up

how the earth is used by dierent peoples. Tis exemplary project suggests a visual artist using a

sophisticated orm o deep mapping well beore the term came into being.

Tere are many parallels between the approach o a wide spectrum o contemporary visual

artists or perormance groupsrom Marlene Creates, Helen Douglas, and Eve Ingalls to

Simon Whitehead, Lone win, im Brennan, and Wrights & Sitesand it may be signicant

that many involved in deep mapping are involved in practices that work across or between

disciplines and occupations. For example, Sue Palmer makes and teaches devised theatre and

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contemporary perormance, as well as working with sound, video, and digital artworks to create

dialogue through collaborative community site-based projects. She has also produced a digitally

articulated deep mapping o migratory and transitory paths made by humans and non-humans

in the Blackdown Hills on the Somerset-Devon county border in southwest England. Gini Lee,

Proessor o Landscape Architecture at Queensland University o echnology, Australia, and the

Irish geologist and artist Antony Lyons have come to deep mapping rom other disciplines. Tis

might seem to reect Pearson and Shanks argument that in theatre/archaeology the two disciplines

coexist within a blurred genre: an integrated mixture o narration and scientic practices or

recording, writing, and illustrating the material past.

Our lives leave remainders (they say more than they mean) just as our categories leave

residues (they mean more than they say). Lives and categories are incommensurable.

Tey exceed each other, leaving in their wake a ertile precipitate o an-archical sens or

signiancewhich ex-sists beyond and between given categorical rameworks, beyond

and between the knowable and the already knownas an always available (re) source

o dierence, resistance, and change: o being-otherwise-than-being a re-presentation

o an already instituted (and thereorepre-scribed,pre-dicated, andpre-determined)

category or class .18

It is with this ertile precipitate, as it is located beyond and between the knowable and the

already known, and as ound in the specics o place, that deep mapping is ultimately concerned.

NOES

1. Barbara Bender quoted in Doreen Massey, 2006, Landscape as a Provocation: Reections on Moving Mountains,Journal o

Material Culture11 (33): 34.

2. Mary Watkins and Helene Shulman, 2008, owards Liberation Psychologies (Basingstoke: Palgrave Macmillan); Avery F.

Gordon, 1997, Ghostly Matters: Hauntings and the Sociological Imagination (Minneapolis: University o Minnesota Press).

3. Julian Jonker and Karen E. ill, 2009, Mapping and excavating spectral traces in post-apartheid Cape own, Memory Studies

2(3): 133. Here and throughout this paper I draw upon arguments set out in Jonker and ill, and in Karen E. ill. 2005, Te New Berlin:

Memory, Politics, Place(Minneapolis: University o Minnesota Press).4. Gordon, Ghostly Matters, p. 208.

5. Wallace Stegner, [1955] 2000, Wol Willow: A History, a Story, and a Memory o the Last Plains Frontier (London: Penguin Books).

6. William Least Heat-Moon, 1991, PrairyErth (a deep map) (London: Andre Deutsch).

7. Laurence Sterne, [1759-1767] 2003, Te Lie and Opinions o ristram Shandy,Gentleman (London: Penguin Books).

8. John Copper Powys, 1929, Wol Solent(New York: Simon and Schuster); J Copper Powys, 1932 ,A Glastonbury Romance(New

York: Simon and Schuster); Alan Garner, 1960, Te Owl Service(London: Penguin).

9. Mike Pearson and Michael Shanks, 2001, Teatre/Archaeology (London: Routledge).

10. Ibid, pp. 64-65.

11. Ibid, pp. 138-139.

12. Mike Pearson, 2006, In Comes I: Perormance, Memory and Landscape(Exeter: University o Exeter Press).

13. Gemma Fiumara, 1990, Te Other Side o Language: A Philosophy o Listening(London: Routledge).

14. Ibid, p. 17; Doreen Massey, 2005, For Space(London: SAGE Publications), p. 75.

15. Fiumara, Te Other Side o Language, p. 8.

16. Karen E. ill, 2008, Artistic and Activist Memory-work: Approaching Place-based Practice, Memory Studies 1(1): 98.

17. All quotations in this paragraph are in McLucas, Tere are ten things that I can say about these deep maps, http://metamedia.

stanord.edu/~mshanks/projects/deep-mapping.html (last accessed 10 October 2009).

18. Geraldine Finn, 1996, Why Althusser Killed His Wie Essays on Discourse and Violence(New Jersey: Humanities Press), pp. 171-2.

Photo credits: pp. 6-8: Iain Biggs, Stills rom Uplands (dreams, memories, spectral traces)towards a case history 2010.

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arMorygallery

A conversation, a dialog, an interaction between two or more, theimprint o one on another, the reection o one in many, that whichis tangible, that which is ethereal.

o be o a place is to be that place. Tere is no getting around the simple,

undeniable act that once you are somewhere, you have impact.

How ones impact is recorded, remembered, documented, chronicled, cited,

duly noted is both a determined consequence o ones actions and a randomoccurrence o chance.

And so it is withMapping Spectral races. It was an e-mail, which once

answered, became a conversation, a new collaboration and now an exhibition,

about place. Tis space is North America, the United States, Virginia,

Montgomery County, Blacksburg, Draper Road, the Armory, and the Armory

Gallery. I t is a building that is also a bridge, a connector, a gateway, a transition

in transition between town and campus. Te School o Visual Arts gallery on

the Virginia ech campus has a rich and varied exhibition history. It is a cool

architectural space, halogen lights, nice wood oors, the sound o marching, o

basketballs, o the music o Doc Watson and Merle Watson.

Tis is a gallery, correct?

races, bits and pieces, the ghosts o its history inorm its presence, as it exists

today. Te Armory was built in 1936, as that, an armory - a military structure where

arms and ammunition and other military equipment were stored and training was

given in the use o arms. Te National Guard met and trained there, let or war rom

there, came home to their loved ones there. It was a center, an intersection o pride

o place and duty to ones country, a place o community gatherings o both joy and

sorrow. Metamorphosis, modication, evolution, the building became Blacksburgs

recreation center. I t became a place o basketball games, and dances, community

meetings and concerts. Surrounding buildings were once middle and high school

buildings, now home to programs in the College o Architecture and Urban Studies and

other Virginia ech programs. Te Armory transorms again, becoming the Art and Art

History department o Virginia ech.

Te building whispers it history inorming its present day incarnation as Te School

o the Visual Arts.

When the conversation between Karen ill and I began, grasping or

understanding o the ethno-geography/art connection brought me to this place, thisunderstanding o the Armory Gallery. It is the perect location or an exhibition

that maps that which existed exists or will exist because the artists make it so. Tey

respond, record, create, document, take notice o, and make visual those bits, and

transitions and histories and memories o who we are and where weve come rom,

inorming the to be written uture.

Deborah A. Sim

Curator, Armory Gallery

Virginia ech

September 2010

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Rick Holbrook, Senior studio show 2010. 10


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Te prints you see in this show are built up layer by layer, each layerboth the ollowing through o a guiding idea and an experiment withtextures and associations. Tese layers have all kinds o sourcesmy

own drawings, paintings, etchings, screen prints, and photographs,images rom my own lie and travels, and also images ound by chanceor trufing about in archives. In other, earlier series, on alchemy, orexample, or on women storytellers (Graces, Fates, and Furies), similarlayerings became lithographs or screen prints, but more recently,working with images rom Australia, Scotland, New Zealand, and theIsle o Man, I have embraced electronic techniques o montage andlaser printing which oer wondrous subtleties o shade and mass andline. At any stage, I can go back one layer, or six, or sixteen (there may

be up to thirty) to see where I have been and perhaps to think againabout where Im going. It is a process that appeals to a long establishedprintmaker, conversant with layers and separations, using stages orconstructing an image slowly. I am taken with the density o it all;just as ethnographers talk about thick description, I think about thickrenderings o experiencethick but not so thick you cannot look intothe deeper places, in a compelling recession o space and time. Te hando the artist is present in each, unusually in what some might assume asthe impersonal mechanics o photography.

When working as a guest artist and researcher in New Zealand, I became acutely aware

o how very dierently the same placea pool, a cli, a orest, a mountainseemsand

signiesto Maori or to Pakeha. Closer to my home in Scotland, just a ew miles away,

crots were destroyed, their usable timbers salvaged by the landlords, glens were cleared, theirinhabitants packed o to Nova Scotia, or Otago, or the Carolinas, making way rst or sheep

and then or pheasant, grouse, and deer. Te Gaelic names remain on the old Ordnance survey

maps, and i you look careully you can nd a pile o stones or the lines o runrigs to show

where the land was cultivated once upon a time. o adapt a phrase rom Derrida, they are

apparitions o the inapparent. Others might reer to them as subaltern traces. Tey remind us

that time is at work here as well, simultaneously in the shiting patterns o sun and cloud, in

the shadows, in the buried but discernable circles o shepherds huts, in the geologic cuttings o

erosion and shiting orces o glaciers and volcanoes, water and wind. Neither the seeable nor

the sayable tells the whole story.

Look now: why should you believe me? Just as easily, I could say: I am a traveler,

descended rom immigrants and Native Americans, prooundly inuenced by place and

the identity that comes rom place, but not easily dened, moving between stasis and

change, shiting perspectives, stepping in and out o denitions and locations. Shaped

by these invisible orces, I nd mysel equally attuned to the visible and the invisible. I

wonder about my ancestor Mary Grasshopper, up at Fond du Lac, in Minnesota, and those

who came into her world rom rondheim, Stockholm or Qubec City. As Dickinson puts

it: One need not be a chamber to be haunted, / One need not be a house.

MaryMoDeen

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In Landscapes o Epiphany and Memory, I ask how we know more than we

can easily explain, and ask, too, what people mean byI, and we, and they. In its

representation o multiplicity, my inquiry challenges the theory and practice o

point o view and speculates about the identity o the seeingI

(and eye). Likewise,

this inquiry never takes or granted the nature o the wethat stands or both

shared identity and individual quirkiness, or the they that can rather easily deny the

unamiliar. Cultural memory does peculiar things to pronouns, some o them bad

and some magnicent. o ignore the past is utile, or it will haunt us anyway, so

why not see what gits the specters bring us? Fellow travelers, there is no one way

to see these works. You might care to see the individual prints as single images or

multiples, or as both at onceas spectral traces or epiphanies, reclusive secrets, and

illuminations. Te visible and invisible, biding and moving, compel me to suggest:

abide with me.

Mary Modeen, Vestiges 2010; Revelation 2009. Limited edition digital prints on rag paper, conservation

sprayed; photography with pastels and watercolor.12


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juDith tuckerMy mother and grandmother wereGerman Jews who emigrated toEngland in 1938; they brought withthem a amily album. For some yearsI have been considering a triangularrelation between these pre-warimages o hal-orgotten places andpeople, the contemporary continentalEuropean resorts my relatives oncevisited (depicted in their snapshots),and my re-presentations o theormer two through drawing andpainting. Tese re-presentationshave been inspired by these amilyphotos as well as by MarianneHirschs considerations opostmemory, Julian Jonker and

Karen ills notions o hauntedarchaeology and memorialcartography, and Iain Biggsinterpretations o deep mappings.

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In Postmemorial Landscapes: Places in Play, I exhibit together or the rst time paintings

rom two series that explore memory, place, and mourning: enseand Spectres on the Beach.

Tese two bodies o workone based on the German Friedrichroda lido, the other on

the Danish Bornholm beachoer the viewer distinct ways to explore the paradoxical

and anxious associations o violence with leisure and mourning through aesthetic pleasure.Friedrichroda in Tringen, known as the Green Heart o Germany, is the town where

my mother learned to swim and, coincidentally, where the 1936 German Olympic eam

practiced. Te existing pool is neither a ruin nor a site o destruction; indeed, while it might

be considered a remnant o another era, it is actually rather well cared or. Historical photos

o the pool and the surrounding orest bear the traces o unknown lives, just as the actual

pool today, with its careul paintwork and the orest regrowth, do not. Tus in these works

I deal with the notion o spectral traces in a way that is not straightorward; it is their very

absence that is critical and might be recompensed through painting.

Whilst working in situ in Friedrichroda, it occurred to me that the swimming poolarchitecture, as situated within lush woodlands, oered not only the notion o bringing

the domestic outside, o creating a home away rom home, but also invited questions

concerning what other architecture might have been built at that time in the same

Tringen orest or a much more sinister purpose. In these paintings I re-present lido

architecture in meaningul connection to the orest; the relations between the private

and public are developed through this trope to interrogate the uncanny in this tourist

landscape. My drawings and paintings o this resort landscape do not seek either guilty

enjoyment or etishization o a violent past; I seek to avoid the idea o dark tourism

in my work. However, in my recent series Spectres on the Beach I choose to address this

phenomenon more directly.

Te Danish island Bornholm has long been known or its particular mix o tourist

idyll and strategic military history. Sitting in the middle o the Baltic, the beaches o

Bornholm might be seen as sites o both jouissance and danger. During the 1920s and

1930s, it was an alternative to the Mediterranean or German tourists; later, when it

was occupied by Germany relatively early in the Second World War, the island served

as a lookout post and listening station. Several concrete coastal installations were built

during this period but are now neglected, sitting in close proximity to holiday homes.

Tese remnants o the Tird Reich have become the subjects oSpectres; they operate at

the same time as uncanny doubles o the holiday homes away rom home and as what

Edward Casey would term unresolved remainders o memory.

My new work explores these visual remnants o past military activity that interrupt

and disturb the holiday resort. Stubborn lumps o concreteremains o a ormer U-Boat

stationlie unnoticed amongst the rocks and sea birds along the shoreline. Past the dunes,

large concrete structures remain nestled in the woods among the picturesque holiday homes.

One, a gun emplacementa wartime ruin that was never usedis now a space or touristexploration and play. Tis rocket launcher made me think o the so-called Scandinavian ghost

rockets, one o which is supposed to have crashed on the island in 1946. Whether these ghost

rockets were the result o meteorite storms or came rom Soviet-occupied East Germany, rom

the island o Peenemunde, remains a matter o debate. Columnist Marquis Childs suggested

that sightings o spectral rockets were a kind o collective neurosis. As he wrote in Washington

Callingin 1946: Te most extraordinary phenomenon o post-war Europe is the report o

ying bombs or rockets that are now beginning to come rom widely separated areas. I they

are real, then we have a small taste o what the next conict will be like. I they are a mere

illusion, then we have an example o the uneasy state o mind o the people who live on thistroubled continent. For me the relation between the solid concrete remains and these stories

o collective ghosts are intriguing and paradoxical.

Judith ucker, Springboard (i) 2008; Maze 2010. Oil on canvas.

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Experiential, is it even a word? Such latitude is taken withlanguage. Its texted, tweeted, condensed, gratied, made up,used, abused, misinterpreted, but always understood. Oddly,

we seem to be, or the most part, willing to take that leap ounderstanding. And so it is with experiential.

Although the building is new to the town, the land reaches back to the

original town plan, and even its rontier origins. Te small, ragile settlements

along the east coast o North America in the early 1600s initiated Te Great

Migration, the historic ever-westward march o humanity that eventually

populated this country. Around 1750, the rontier o this migration reached

the Allegheny Ridge (or Eastern Continental Divide), which was a dicult

barrier to be crossed. Te rontier settlement o Drapers Meadow (now

Blacksburg) originated on one o the earliest and best routes over themountainous ridge. Te site o the settlement was selected because o the

abundance o ertile land and numerous springs, just within the eastern

boundary o the great Mississippi River basin. In 1750 Samuel Black

purchased 650 acres o land at Drapers Meadow, which was later inherited by

his sons William and John Black. In 1798 William Black set aside 38 acres

o his land to establish the village o Blacksburg (A History o Blacksburg,

http://www.blacksburg.gov). A grid o streets reerred to as Te Old

experientialgallery

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Sixteen Squares was created out o that land purchased by the Black

amily. Te Alexander Black House, ormerly located on this site was

moved in 2002 to make way or the retail and residential complex o

which the Gallery is now part.

So, as with the Armory Gallery and it relationship to the works

presented there, Experiential Gallery brings its own traces incorporating

Blacksburgs history with the histories and stories these artists render their

own. Digitally, photographically, through installation and participation, these

artists bring their particular histories into the strata o experience o this new

space where technology and imagination entwine as art.

Te Experiential Gallery is a place where understanding and

imagination collide. It is a place o art and technology, smoke and mirrors, o

expertise and child-like wonder. It was created in 2009 as an exhibition space

to showcase the collaborative eorts between artists, musicians, computer

scientists, educators, and engineers. It recognizes the limitless possibilities o

creative endeavor o those willing to reach across the boundaries o labels, titles,

elds o emprise and expertness. It serves as a prototype or CCA, the Center

or Creative echnologies in the Arts, which will provide an applied research

environment or aculty rom across campus as part o a new Center or the Artsscheduled to open in 2013.

Deborah A. Sim

Curator, Experiential Gallery

Virginia ech

September 2010

Alexander Black House (beore 1900); 190 1 account o purchases made at Alexander Black store, Digital Library and

Archives, University Libraries, V irginia ech, http://imagebase.lib.vt.edu/.

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chriStine

baeuMlerAmazon Visions, Vanishing Acts is an installation based on travels to the Lago Preto Conservation Concessionin Peru as part o an Earthwatch Institute expedition in 2008. Tis area is one o the most bio-diverse habitatsin the Amazon and is home to an extraordinary number o avian species, as well as a great diversity o primates,sh, and rog species ound in the region. Te work in this exhibition presents the lush environment o theAmazon Rainorest through video images, sound recordings, and photography. Te non-narrative video presentstwilight on the Amazon River and recreates a mysterious landscape, glittering with reies and lightning,and echoing with the sounds o rogs, insects, and birdlie. Tis vibrant world is juxtaposed against images o

taxidermied species rom the Natural History Museum in Lima, Peru.

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While key wildlie species o the Lago Preto Conservation Concession are recovering

due to the cooperative eorts o scientists with twenty-one local Cocama-Cocamilla Indian

communities, the Amazon basin is under the constant threat o deorestation, oil exploration,

and climate change. Tis project asks visitors to consider what could be lost i such threats

continue to impact the remarkable environment o the Amazon basin.

In a quest or direct experiences and a deeper understanding o environmental issues

to inorm my work, I have also accompanied scientists and naturalists to the Northern

Australian Rainorest, the Great Barrier Ree, and the Galapagos Islands. By witnessing these

species at close range and in their own habitat, I also glimpsed lives as largely separate rom a

human context and discovered behavior that seemed to conrm Charles Darwins observationin Te Descent o Man that the dierence in mind between man and the higher animals, great

as it is, is certainly one o degree and not o kind.

Christine Bauemler: Blue Headed Parrot, Striated Heron, Natural

History Museum, Lima, Peru 2010. Ink, oil, and enamel on

aluminium photo litho plates.

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iain biggS


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Uplands (dreams, memories, spectral traces)towardsa case history is part o an ongoing deep mappingproject that takes as its starting point tenuouslinks between the ormer parish o Southdean

on the English-Scottish border and the oldsupernatural Borders ballad am Lin. I beganthis project in 1998 and the deep map (unnishedand indeed unnishable) is being realized throughwall-based work and, more signicantly, througha number o book works. Tese include BetweenCarterhaugh and amshiel Rig: a borderline episode,8 Lost Songs, two volumes o the Debatable Landsseries and, more recently, the appropriation o my

riend Helen Douglas Wild Woodand second-hand copies o Anni Hawkers Martin Farrell.Tese books and related materialmy own mostlyhave a CD or DVD attachedwill at some pointbe assembled, together with a nal book thatconstitutes an explanatory text and catalogue, as aboxed set o texts and objects that will constitutethe deep mapping. Uplands (dreams, memories,spectral traces)towards a case history will be included.

I have been deep mapping the connectionsbetween Southdean and songs associated withit onto other sites and communities so as toindicate how the values o a historically specicregion and way o lie have unolded into themodern world. I do so in order to understandandhopeully help others understandhow attendingto suppressed elements o a particular quasi-paganminority Borders culture might be used to re-inect contemporary issues o identity, power andunderstanding.

Iain Biggs, Stills rom Uplands (dreams, memories, spectral traces)

towards a case history 2010.

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Places o Memory is part o a long-term exploration oglobal practices o memorialisation. In this interactiveproject, I invite gallery viewers and web participantsworldwide to share personal experiences at trauma sites.In the gallery, side-by-side monitors oer access to aGoogle Earth layer that maps memory sites globallyand a blog that compiles discussions o the sites. Tegallery installation also includes examples o the kinds

o objects requently brought by visitors to places omemory and a small selection o the thousands ophotographs o memorials that I have taken in thelast nine years.

lauriebeth

clark

Laurie Beth Clark: uol Sleng Museum, Phnom Penh, Cambodia

2009; Son My (My Lai) Vietnam 2004.21


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I began this work on 18 September 2001 when I paid

my rst visit to Ground Zero in New York. Just a weekater the towers ell, the site had already established itsel as

a pilgrimage destination, attracting such large numbers o

tourists that the city was orced to nd ways to manage

the crowds while the community was still grieving. Within

the rst week, street vendors were already selling homemade

postcards at the perimeter o the still smoking ruin. Tis

odd mix o reverence and commercialism I experienced at

the site, along with my own unresolved emotions about the

events, led me towards an exploration o how other cultures

have dealt with places so marked by trauma that they could

no longer be recuperated or ordinary uses. I have visited

concentration camps in Poland and Germany, atomic blast

sites in Japan, slave orts in Ghana, clandestine torturecenters in Chile and Argentina, ossuaries in Cambodia and

Rwanda, museums recalling apartheid in South Arica,

and sites associated with the American War in Vietnam.

What these places have in common is not the nature o

the events they recall but rather the memorial impulse, the

challenge o curating intractable places, and the sometimes

contradictory perormances that visitors enact.

While my current research ocuses on industrial scale

tourism (more people visit concentration campseach year

than the total number that were murdered during the

Holocaust), I am deeply invested in other elements o

memory culture as well, such as the impromptu shrines

that were devised around the posters o missing personsin New York. I am especially moved by ruins that have yet

to be recuperated into memory culture (like the extensive

untended Jewish cemeteries throughout Eastern Europe)

and by the incredibly creative projects that local communities

and individual artists have devised. In this vein, I am just

starting work on Ossuary, a project that will instigate the

productions o hundreds o artist-made bones in hopes

o emphasizing the ways that trauma exceeds any single

instance thereo and how memory can be regured through

creative acts.

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Stories rom the DMZis an installation based oneld research or the Sel Portrait Project, a trilogy obiographical perormances exploring themes o conict,memory, and migration on the Mediterranean islando Cyprus. wo communitiesGreek and urkishcurrently exist in opposition to each other on Cyprus,separated by a UN demilitarized buer zone (DMZ)that physically divides the island. Tis partitionrepresents 80 years o conict between the two ethnicgroups and eectively divides two political entities.Te southern, Greek side, known as the Republic oCyprus, is internationally recognized as a membero the European Union; the northern urkish side,

controlled by the unrecognized urkish Republic oNorthern Cyprus, has attempted to make an illegal,unilateral accession. Years o remembered violenceand animosity by the residents and displaced citizenso Cyprus continue to reinscribe the physicalboundary o the buer zone across generations andwithin claims to citizenship and belonging.

glgnkayiM

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Stories rom the DMZemerges rom the perormances, desires, and research tied to

Untitled #1 (1998), perormed at the Drake Marble Factory in St. Paul, Minnesota,

and Te Orange Grove(2003), presented at a ormer munitions actory in northeast

Minneapolis. Both o these perormance works addressed childhood experiences and

sensations situated within my memories, experiences, and postmemories o historic

violence and dislocation associated with Cyprus. Te third part o the triology,Sel

Portrait ... or now, is a work in progress that grew out o an insatiable desire to navigate

my divided political history as set within the ramework o my own amilys experiences

and stories. Te projects personal narrative is combined with the disputed versions o

reality through the competing narratives o urkish and Greek islanders. Yet because

the intended setting or Sel Portrait or now is in the DMZ, the project awaits a uture

perormance site that symbolically and physically represents these unresolved personaland political disputes.

In Stories rom the DMZ, the visitor encounters accounts

o Greek and urkish Cypriots in their search to nd a sense

o belonging on an island decimated by war, divided by conict,

and partly invisible to the international community. Tey describe

the particular places on the island to which they still elt attached;

their personal stories about identity, place, home, and belonging are

situated within the context o a ruptured and scarred landscape. My lie

circumstances navigate similar concerns: What is the meaning and location

o a Sel who has no tangible existence because all the places connected

to birth, ancestry, and uture are either located within the DMZ or dislocated

through migration and exile? I eel no allegiance to a seemingly stable identity

or the political spaces o a state. I only long or those places o my origins that nolonger exist in real time, but survive within the boundaries o memory.

Glgn Kayim: Glgn Kayim, Untitled #1 1998,

perormed at the abandoned Drake Marble Factory

in Saint Paul, Minnesota; Abandoned Greek home

on urkish side o DMZ, Cyprus 200 7.

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rebecca krinkeUnseen/Seen: Te Mapping o Joyand Pain challenges conventionalways o seeing space, in this casethe win Cities o Minneapolis-St. Paul. Tis temporary, traveling,participatory work o public artvisited Minneapolis parks, theWalker Art Center, and otherpublic spaces in the win Citiesduring the summer o 2010.Te project created a setting andopportunity or the public tomap where in Minneapolis andSt. Paul they have experiencedjoy and pain.

Rebecca Krinke, Unseen/Seen: Te Mapping o Joy

and Pain; Participants at mapping table with vertical

elements to side, Father Hennepin Blus Park,Minneapolis, photo by Rebecca Krinke 2010;

participants mapping at Gluek Riverside Park,

Minneapolis, photo by Jim ittle 2010.


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Unseen/Seen is part o a larger, ongoing body o work

called Te Place to Share Beauty and Fearthat explores

environments and objects o trauma and transormation.Te trajectory o this work is toward engaging the public

directly in this dialectic; in the case oUnseen/Seen it is

undertaken through mapping. And while mapping is

conceived here as a potentially silent, rather private act

in public space, the proound sharing o stories at the

map itsel suggests that this body o work may expand

to operate more overtly within the realm o testimony,

witnessing, and recording.

Unseen/Seens sculptural setting included a uniquetable-like object containing a very large custom wood map

o the win Cities. Te map became a space as well as a

compelling object or participants, who in act stood and

moved around this unique map to locate and add color

to places where they experienced joy (gold) or pain (darkgray). Te projects sculptural language also reers to joy

(gold lea ) and pain (dark gray suraces that allude to the

skin or body).

Members o the project team were on hand at each

location to talk with anyone interested in the project.

Periodically, a mapping o the body was acilitated on

the table, through mylar templates o the body that

participants were invited to add color to, similar to the

spatial mapping. Unseen/Seen has generated a range oresponses: rom an individual marking a specic place in

silence and leaving, to people telling us long stories o

joy and pain. One man showed us the scar on his back

ater he mapped and talked about his bicycle accident.

By inviting this emotional mapping, the project oersan emotional engagement or individuals or groups o

individualsrevelation, catharsis, remembrancewhile

presenting us with a new view o the city.

Unseen/Seen is the rst step in what will be a

continuing exploration o pain/joy through public art and

community engagement. Following Unseen/Seen, the next

iterations oTe Place to Share Beauty and Fearwill address

the traumatized body in places o trauma. Object, space,

participation, and perormance are all seen as avenues toreveal relationships between the traumatized body and

spaces o trauma and healing.26


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Dakota elders teach that it is vital to know who you are and know whereyou are.Cloudy Waters: Dakota Refections on the Riverwas a beginning pointor my deeper understanding o where I am. And a way to share with non-indigenous people a ew Dakota expressions about this place, this Dakotahomeland. Te state o Minnesota takes its name rom the Dakota name or

this region,Mnisota Makoce. Te Minneapolis-St. Paul area is a site o genesisand genocide or the Dakota people. It is also Maka Cokiya Kin, the center othe earth. Knowing the meaning o this place in ways that resonate beyondthe intellect has changed me, strengthened me.

SMithMona

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Te sounds o nature are meant to ll

the space around the listener with a circle

o animals and birds and weather. Te

seasons and the weather correlate with

the stories o the river told by the Dakota

people. Te voices recorded or CloudyWaters include elders and young people,

scholars and students, artists and seekers,

traditional people and not so traditional

people. Video projected into the pond

was intentionally sot, much like imagined

pictures or memories. Te primary video,

paired with the primary voices audio

rotates above the pool, and both are on

a loop that plays over and over so that avisitor can enter into the space at any time,

stand anywhere around the circular pond,

and still be in the right place.

In the past, this country has chosen

to make the indigenous invisible or many

reasons. But now, at this critical time on the

planet, humans must recognize where they

are, and strengthen or develop relationships

to the places that nurtures them, that shapes them. Te people who have lived longest in

a place and who have maintained their connections to the landscape, the spirits, and the

ways to live taught by a specic place have much to share with others. Elders tell us that

the earth remembers our ootprints. Even those apparently erased by greed and injustice

are remembered by the place. Te relationship continues.

Te art and media that I produce help the non-indigenous listen to the indigenous,

particularly the Dakota people o Mnisota Makoce. I hope Cloudy Waters creates an environment

reminiscent o the experience o sitting by owing water, the changing colors o the water and the

land, and the reections o the water and ourselves, all o which trigger internal voices o wisdom,

o dream, o memory. And in that experiential state, the words o the Dakota voices might shatter

metaphorical walls to enter the heart and the mind o the listener.

Mona Smith, Cloudy Waters; Dakota

Refections on the River; Simulated image

o 2005 installation, Minnesota History

Center; clouds reected in owing water,

images within waiting to be seen 2010.

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DanewebSterTe Virtual Jamestown Archive is adigital research, teaching, and learning

project that explores the legacies othe Jamestown settlement and theVirginia experiment. As a work inprogress, Virtual Jamestown aims toshape the national dialogue about theounding o the Jamestown colony. Arelatively new component o this archiveis Virtual Jamestown: Te Paspahegh Site,a virtual re-creation o a large grouping

o longhouses (dwellings) containingvarious artiacts related to the day-to-day lives o the Paspahegh Indians.Paspahegh is one o only a handul oexcavated Native American villagesin Virginia, which date to the EarlyContact Period. Located just six milesupstream o Jamestown, the site providesa unique opportunity to understand howdirect contact with European colonistsaected the native societies o theVirginia Coastal Plain.

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Te virtual re-creation is based on specic archeological evidence archived at the Virginia Department

o Historical Resources. During the simulation, participants are able to walk through the settlement and

click on various items that display text-based inormation about the artiacts. Te simulation is posted on

the Virtual Jamestown website (virtualjamestown.org), where PK-12 educators can access it or use in their

classes. While the game-play aspects o the simulation are still a work-in-progress, Virtual Jamestown: Te

Paspahegh Sitedemonstrates the potential o serious games as a powerul tool or educators. In the uture,

we hope to develop digital hunting and gathering missions that will allow students to experience the day-

to-day activities o the Paspahegh Indians.

My approach to Virtual Jamestown: Te Paspahegh Sitealls rmly on the practitioner side o the

scholar/practitioner duality that governs my work. A real-time simulation project like this is always about

things like eciencies in 3-D modeling or the creative use o texture maps. As a technical advancement

or my own work in this area, the utilization o high-dynamic range images in the process o baking

lighting inormation or textures was a step orward in the visual quality o the work and solved problems

that would have arisen in trying to describe lighting or both interior and exterior spaces.

Dane Webster, Virtual Jamestown: Te

Paspahegh Site, lighting study and screen

capture rom the real-time visualization

(http://www.virtualjamestown.org) 2010.

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Christine Baeumler is Associate Proessor in the Art Department at the University

o Minnesota. Her work explores the power o the imagination and memory as tied to

direct environmental action. ravel has inspired her studio work, which shadows naturalist

explorers o the past and draws connections between the diminishment o ecosystems and

the extinction o human experience o these environments. Locally, Christine works toreclaim urban ecosystems by reconnecting participants and visitors to nature in their own

neighborhoods through the revitalization o degraded green spaces. Engagement over the past

teen years in a series o New Genre public art projects has culminated in a large-scale eort

to transorm a twenty-seven acre polluted rail yard along the Mississippi into a new city park,

the Bruce Vento Nature Sanctuary. Her community-based environmental work is collaborative

and involves the ecological restoration o urban green spaces with special attention paid to

increasing biodiversity, providing habitats, and improving water quality, while attending to the

aesthetic dimension o the sites. As an artist-in-residence o the Capitol Region and Ramsey

Washington Metro Watershed District (under the auspices o Public Art Saint Paul), she has

had a new opportunity to use art as a means to connect residents to stormwater management

practices and make water quality eorts visible (http://www.ormandcontent.org/chris.htm).

Iain Biggs is Reader in Visual Art Practice in the Faculty o Creative Arts, Humanities and

Education, UWE Bristol, UK and Director o PLaCE. An artist, printmaker, and writer, he

co-convenes LAND2 and is a ormer editor oTe Journal o Visual Art Practice. His creative

approach as a teacher/artist/researcher over the last twelve or so years is best understood as a

version o Mike Pearsons and Michael Shanks deep mapping practice (Teatre/Archaeology,2001). Until recently this work was animated by an auto/ethnography ocused by a particular

location on the English Scottish border rich in spectral traces linked to a regional musical

tradition. Te working process was inected by Iains visual arts education and a preoccupation

with multi-media and multi-disciplinary perspectives employing testimonial imagination.

Te various strands o this came together in a process o orienting that engages: the

textures o social and cultural experience; the means and materials o orging cultural ecologies

or milieux which attend to that contemporary tension between the global and the local; how

we model the event o this cultural production, the weaving o connections through such

indeterminate times and places (Pearson and Shanks: xvii-xviii). Iain is also currently working

on a collaborative deep mapping o older peoples connectivity with their environment

in rural North Cornwall as part o a major research project, Grey and Pleasant Land? An

Interdisciplinary Exploration o the Connectivity o Older People in Rural Civic Society, unded

by the UKs Economic and Social Research Council. A team o ve people based in rural

North Cornwall work with social scientists to explore older peoples connectivity with their

environment. Te team seeks to nd ways to deep map the dynamics that generate the various

dierent living spaces within the rural community itsel, and between the community and

the powers that make up authorized knowledge. As such the project seeks to extend the

capacity or deep mapping as a social poetics that can engage with and illuminate what is

unheard by the social sciences.

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Laurie Beth Clark is Proessor in

the Art Department o the University

o Wisconsin at Madison where she

teaches courses in Video, Installations,

Perormance, and Visual Culture Studies.Clarks studio practice includes large scale

site-specic installations, single channel

videos and virtual environments, and solo

perormances. Her work exists between

theory and practice, between scholarly and

tangible explorations o content. Just as she

might dierentiate her research approach by

its phenomenological and curatorial bent,

so too is her studio practice theoretical and

propositional. Clark oers the term studio

in quotation marks because, in truth, she

makes work out in the world. Whatever

the medium, Laurie Beth always makes

work in social space with a community

actively dening the project. Tis approach,

which has come to be known in the last

ew years as relational aesthetics has been

at the heart o her creative work since

her rst perormances in the 1980s (see:

www.lbclark.net). Laurie Beth is currently

working on the bookAlways Already Again:

rauma ourism and the Politics o Memory

Culture. As part o her research or that

project, she has developed an interactive

project that can be seen in the gallery or

downloaded at www.traumatourism.net.

Glgn Kayim is an interdisciplinary theater artist, co-ounder and principle oSkewed

Visions, a Minneapolis-based site-specic perormance collective, and Aliate Faculty o the

Department o Teater Arts and Dance, University o Minnesota. Her artistic work merges

ideas rom public art, theater and architecture to investigate cultural resonances o violence,

conict and trauma within the landscape, as they relate to memory and identity. Glgnunderstands perormance as a strategy o survival in the search or belonging. rained as a

theater artist, she has developed and adapted approaches that combine experimental theater

practices with architectural theory to create site-based perormances tailored to specic

locations. Her preoccupations with place and identity, however, come rom being a urkish

Cypriot immigrant. She uses the body, language, and sense memory to sort through and

re-examine historical events, propaganda, stories, and ideas. Tese interests are explored in

her workSel Portraitor now made or the Cyprus demilitarized zone, and based on her

personal story as well as the stories o others who experienced violence and dislocation as a

result o the Greek/urkish civil war on the island o Cyprus.

Rebecca Krinke is a multimedia artist and designer working in sculpture, installations,

and site art, and is Associate Proessor o Landscape Architecture at the University o

Minnesota. Her research and creative practice centers on issues surrounding trauma and

recovery. Her work moves rom body to space, rom object to landscape, and explores trauma

as it moves rom individuals to societies to ecosystems and back again. Krinkes sculpture has

ocused on embodying trauma using the body as a starting point, and her installations and

restorative site works ocus on ideas o recovery through environments designed to calm, heal,

or transorm the body (primarily through the designed outdoor environment, but also through

interior installations). Rebecca has also explored traumatized sitessites with toxic land or

waterin her practice and publications. Her sculpture uses the physical body, the emotional

body, the absent body, the animal body, and aspects o domestic objects and architecture to

investigate and objectiy trauma. Te bodies are porous, enmeshed, hybrids, or remnants,

and adaptation processes (oten unusual, thwarted, or unnatural) are visible. Memory and

repression, the power o relationships, and the desire or and ear o change uel this work.

32

Mary Modeen is an artist/academic, American born but residing since 1989 in Scotland,

where she lectures at the University o Dundee, and convenes the Art, Philosophy and

Mona Smith, Sisseton-Wahpeton

Dakota, is a multi-media artist, educator,

Dane Webster is an Assistant Proessor

o Computer Animation in Visual


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y , , p y

Contemporary Practices course. She exhibits, publishes, and lectures worldwide, and has

taught undergraduates and postgraduates or many years. Modeen combines studio practice

with critical writing. Her academic background includes postgraduate degrees in aesthetic

education and humanities in addition to studio art. She is currently co-investigator or a

U.K. Arts and Humanities Research Council unded project: Poetry Beyond ext: Vision,

ext and Cognition. As artist-researcher her work usually begins with place, examininginterplays between memory, perception, cultural identities, and art. Her creative work springs

rom a ascination with perception as a cognitive and interpretative process. As an academic

who has taught in the sketchily-mapped territories where art and philosophy overlap,

interspersed with literature and psychology, she returns again and again to thinking about

the ontological, aesthetic, and metaphysical aspects o knowledge. As a visual artist, Mary

sees these challenges and enigmas (obsessions, i youd rather) embodied in particular places,

in the sound, smell, eel, and look o them, in their raming by plural histories and cultural

values. o her way o thinking there is no contradiction in using the latest in electronic crat

to conjure the past into the present and bring the many presents into many pasts. A uture

ounded only on our present would be a sorry spectacle. Te past opens out backwards and

the uture divides ahead; it is the present, the moment, or which we have carried our past to

be here and share this now.

, , ,

and co-ounder o Allies: media/art. Her

new media work includes art projects or the

web and multimedia installation work, most

notably, Cloudy Waters; Dakota Refections

on the River(Minnesota History Center,

2005), City Indians (Ancient raders ArtGallery, Minneapolis, 2006-2007),MniSota

Dakota Home, (Form+Content Gallery)

and the Bdote Memory Map (with the

Minnesota Humanities Center). Her artistic

and educational practice uses image, sound,

and place to work betweenthe place o

healing, o relationship, o meaningwhere

the spirit and physical, lie and death, ear

and strength, and night and day meet.

Mona rst spends time listening. As she

listens, she hears rhythms in language, in

meaning, in described vision; as she edits,

such as was the case or Cloudy Waters,

she creates both a ow and a cycle. And

then ater listening and editing primary

audio, Mona works with technical artists to

translate to the media at hand (abric, bare

trees, lighting, very high tech directional

speakers, etc.). Trough her work, Mona

seeks to extend the range o hearing and

to spark the visitors personal relationship

to a place that is at once part o us and

surrounding us, in our memories and in

what we know to be our physical reality.

Judith Tucker is Lecturer in the School o Design at the University o Leeds and a

ormer Visiting Research Fellow at the University o the West England, Bristol. An artist and

academic, she co-convenes LAND2. From 2003-6 she was Arts and Humanities Research

Council Fellow in the Creative and Perorming Arts at Leeds; during this period she

developed a research project, entitled Painting and Postmemory: Re/visiting, Re/visioning, Re/

placing?that resulted in a new alignment between landscape painting and theoretical research

in postmemory. Her current practice might be considered as creating meeting spaces that

explore personal memory, social history, and resort landscapes. Her painterly investigations

have begun to interrogate place: might they also be a journey to the past through an embodied

exploration in the now? Te richly textured and reective suraces o Judiths paintings operate

both as enticement and sometimes as a screen to prevent one rom seeing. While her paintings

and drawings depict liminal spaces, the beach or lido, and indeed perhaps the uncanny, what is

important is how the paintings themselves become places in between through the mediation

o her material practice. Judiths canvas, as an interstitial space between past and present,

arguably holds the potential or postmemorial aect; it is the time taken to make these images

that orges a memory that not only allows or a strong sense o the place but also oers a way,

to accommodate ghosts.

p

Communication Design in the School

o Visual Arts, Area Coordinator or the

Creative echnologies Program, and

Co-Assistant Director o the Collaboration

or Creative echnologies in Arts and

Design at Virginia ech. His work exploresthe interace between art, research, and

practice through computer animation work.

As an artist and scholar, Dane is passionate

about creating worlds, building experiments

within the virtual space, and investigating

his own ideas about the intersection o art

and science. As a practitioner, Dane oten

works in interdisciplinary settings, taking in

the problems o groups outside o the arts.

Computer visualizations or projects outside

the realm o ne art include architectural

renderings and historical recreations.

His newest creative work, such as With

Delicate Risk andAlways Uncoupled, explores

ideas o creation myth, evolution, and the

simple reactive qualities o virtual biological

orms. Danes Organica still images are

abstracts inuenced by his interpretations

o the microscopic realm. Even his escapist

short lmsIdea Developmentand Sixty

Second ragedy, which on the surace are

simple stories about individuals conronting

a problem, are built on a process whereby

Dane becomes an amateur scientist,

building worlds within the computer,

exploring the use o virtual physics, anatomy,

light, and sound.

33

am gM M d L d p piph d Li it d diti t di it l i t ti d h t h ith


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Mary Modeen, Landscapes o epiphany and memory: Limited edition ne art digital prints on rag paper, conservation sprayed; photography with

painting, etching, lithography, and/or pastels: Dawning (2009), Danger (2008), Revelation (2009), ransubstantiation (2009), Vestiges (2010),

Winter Ephiphany (2008). Video (2010), 3.23 minutes. Project Assistance: Cheryl McDonald (Australia) and Laurence J. Davies (Scotland).

Student Research Assistance (Scotland): Miriam Mallalieu, Liam McLaughlin, and video assistant, Khalid Alsayed. Music copyright permission or

video: Christos Granias. Printing o artwork: Pharos Editions, Brian Gilkes, Master Printer, Australia. Framing: Original Frameworks, Jay Rainey,

Blacksburg, VA.

Judith ucker, Postmemorial Landscapes: Places in Play: Oil on canvas. From the series ense(2008): Evi Swims Oil, Platorm 1935 (i),

Platorm 1935 (ii), Platorm, Te Diving Board in the Forest (ii), Springboard, Springboard (i), Changing. From the series Spectres on the Beach

(2010): Maze, Concrete Circle.

e gChristine Baeumler,Amazon Visions, Vanishing Acts: Ink, oil, and enamel on aluminium photo litho plates: Striated Heron, Blue Headed Parrot,

Howler Monkey, oucan, Chestnut Headed Oropendola, all rom Natural History Museum, Lima, Peru, 2010. Installation: wilight in the Amazon,

2010, video, 6 minutes; Mobile Rainorest Unit, 2010. Animation creation and sound assistance: Amy Waksmonski. Video editing assistance: David

Donovan. Project supported by the University o Minnesotas Grant-in-Aid or Research, Artistry, and Scholarship, and the Imagine Funds Grant.

Installation: Morgan Sayers and Bobby Beaton, with assistance rom Julie Utterback.Iain Biggs, Uplands (dreams, memories, spectral traces)towards a case history: Fourteen minutes loop video o images and spoken word (Wild

Conversations Press, Bristol 2010). Speakers: Yvonne Buchheim, Mel Shearsmith and Iain Biggs. Singer: Victoria Walters. ext, UK photographs,

and graphic images: Iain Biggs. Photographs rom the ar Heel Mica Company, Plumtree, North Carolina: Elizabeth urrell. Editor: Mel

Shearsmith. Installation: Morgan Sayers and Bobby Beaton, with assistance rom Julie Utterback.

Laurie Beth Clark, Places o Memory: Interactive media, workstation, map projection, artiacts, photographs. Production Support: Dale Kaminski,

Erika Robb Larkins, Ginger Lukas, Michael Peterson, Jenny San Martin, Deb Sim, Morgan Sayers, Bobby Beaton, Karen ill, Julie Utterback, and

Michael Velliquette.

Glgn Kayim, Stories rom the DMZ: Photo stills, soundscape, installation. Concept: Glgn Kayim and Katinka Galanos. Sound design:

Jennier Kotting. Photography: Glgn Kayim. Installation: Deb Sim, Morgan Sayers, Bobby Beaton, and Julie Utterback.Rebecca Krinke, Unseen/Seen: Te Mapping o Joy and Pain: Mapping able: wood, ound objects (doors), gold lea, and mixed media,

80 x 60 x 29 inches. Student research/studio assistants: Jamuna Golden, David Kerber, Michael Dorman. Video documentation: Joey Cronick.

Public engagement: Eric Maass. Laser cutting/woodworking expertise: Kevin Groenke, Justin Kindlespire, W. L. Hall Workshop, University o

Minnesota. Installation: Deb Sim, Morgan Sayers, Bobby Beaton, and Julie Utterback.

Mona Smith, Cloudy Waters: Installation, soundscape, video. Concept, editing, audio recording: Mona Smith. Videography: Mona Smith

and Marty Case. Collaboration: Media Department o the Minnesota Historical Society, Chuck urning, Jesse Heinze, and Dan Schindelar. .

Installation: Deb Sim, Morgan Sayers, Bobby Beaton, and Julie Utterback.

Dane Webster, Virtual Jamestown: Te Paspahegh Site: Computer game simulation on at screen. Expertise in Virginia history: Proessor

Randy Shifett, Rhyannon Berkowitz. Simulation programming: Pete Inge, Sabrina Killian. Additional 3-D modelling: Pete Inge, Cherry Wood,

Celeste Leizer, ShaoZhuo Cui. Installation: Deb Sim, Morgan Sayers, Bobby Beaton, and Julie Utterback.

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Te School o Visual Arts (SOVA) is privileged to have the opportunity to celebrate

these inventive contemporary visiting artists. Tis ultimately highlights and enhances our

progression in the arts through this international engagement. Tese nine internationallyacclaimed artists, and their exhibitions in connection with a Humanities Symposium here at

Virginia ech, project us toward community and university involvement and participation in the

arts on a large scale.

Te School o Visual Arts has emerged as a high-demand program on the verge

o national recognition and prominence. Tis particularly relates to the Schools

interaction and collaboration with the University Arts Initiative and Center or Creative

echnologies. Te School emphasizes the intersection o

mapping spectral traces catalog full

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