clay bodies, displaced soils
Hamburgo, Alemania | 2025
Hallo: Festspiele 2025, PARKS.
Fotos por Ali Haji.
Bajo el concreto de PARKS quedan las huellas de un antiguo humedal, borrado hace tiempo por la industria y la guerra, sellado bajo la superficie.
clay bodies, displaced soils indaga en lo que implica estar desvinculades de esa tierra y sugiere cómo podríamos volver a entrar en relación con ella.
Al no poder tocar el suelo que pisábamos, recurrimos a la arcilla comercial: una materia moldeada por la extracción industrial y el comercio global, traída de otros lugares y pensada para adaptarse a cualquiera, sin memoria de su origen.
Les participantes moldearon baldosas de arcilla con su propio cuerpo - piernas, caderas, hombros, espaldas - inspirándose en la técnica “Mönche und Nonne” (monje y monja), utilizada en Hamburgo para moldear tejas sobre el muslo.
Ya cocidas y esmaltadas, las piezas se instalarán en PARKS, formando una superficie de gestos compartidos.
Hamburg, Germany | 2025
Hallo: Festspiele 2025, PARKS.
Photos by Ali Haji.
Beneath the concrete of PARKS lie the traces of a former marshland long erased by industry and war, sealed away beneath the surface.
‘clay bodies, displaced soils’ asks what it means to be estranged from that ground, and suggests how we might still shape a relation with it.
Unable to touch the earth beneath our feet, we turned to commercial clay: a material shaped by industrial extraction and global trade, carried from elsewhere, made to serve anywhere, stripped of the memory of where it came from.
Participants formed clay tiles with their own bodies - legs, hips, shoulders, backs -drawing from the “Mönche und Nonne” (Monk and Nun) technique once used in Hamburg to mould roof tiles on the thigh.
Fired and glazed, the pieces will be placed on site in PARKS, forming a surface of shared gestures.
Photos by Ali Haji.
Beneath the concrete of PARKS lie the traces of a former marshland long erased by industry and war, sealed away beneath the surface.
‘clay bodies, displaced soils’ asks what it means to be estranged from that ground, and suggests how we might still shape a relation with it.
Unable to touch the earth beneath our feet, we turned to commercial clay: a material shaped by industrial extraction and global trade, carried from elsewhere, made to serve anywhere, stripped of the memory of where it came from.
Participants formed clay tiles with their own bodies - legs, hips, shoulders, backs -drawing from the “Mönche und Nonne” (Monk and Nun) technique once used in Hamburg to mould roof tiles on the thigh.
Fired and glazed, the pieces will be placed on site in PARKS, forming a surface of shared gestures.