It’s January lockdown and I’ve been trying to get out each morning to go tracking. Yesterday I took my binaural mics and today I made a quick edit of the sound along with some footage taken on my phone. I’m going to try to do this each day, to chart the changes in the fields behind my house. I’m also reading various things on tracking philosophy and local pest species. Walking lubricates my mind and helps me sift through thoughts, so these vids include my mumblings as well as the sounds of the trail that I’m on. I’ll try post a track each day, but I might have to stop if it makes me self conscious and gets in the way of the tracking. Best to listen through headphones for the binaural sound.
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Got out to the Kirby trail head for sunrise this morning.
On the footpath from Kirkby up towards the wain stones at Clay Bank there are lots of very old stones marking the trail, mostly upright but this one was flat and set to the side of the path, inscribed with an arrow pretty much exactly the size and shape of a grouse track. It also looks like the broad arrow symbol that signifies crown property.
grouse arrow tracks, two days ago at Kirkby
A brave new sprig of heather finding space in the snow. The tier drop shape shows the dominant wind direction which (I think) is blowing in from the West.
I’m pretty sure this is a fox track and not a rogue dog running through the brush, although it is alongside a well beaten trail. You can see how the footprints register, meaning the back feet slot precisely into the print made by the front feet. There’s no messy overlap. This is how cats walk, and my tracking book informs me that out of all the canids this precise register of front and back prints is unique to foxes.
This week I’m helping to host a conference with a collective I’m part of, UCL Multimedia Anthropology Lab. So morning tracking sessions have had to stay short. Yesterday I weasel walked around a field and today my calves ache in a good way.
There’s an online exhibition accompanying our conference, and my first attempt at rendering Alfred Gell’s fictional museum of Traps-as-Artworks and Artworks-as-Traps has it’s very own Moxilla Hub. Very exciting to be able to swim around in there, and if I can work out the tech I’ll be adding narrative segments over time (in my version of the exhibition, whilst appearing to be still, all the artworks and traps are actually alive). Here’s a link to my hub https://hubs.mozilla.com/PiSb9WC/hermione-spriggs
info and entrance to the broader exhibition: https://www.uclmal.com/exhibtion
and today left by the ice melt, frozen worm crusts
John Wheeler believed that the names given to concepts or to descriptions of an idea strongly influence how we think about concepts and ideas, even how we work on them and build on them. In short, the word inspires the deed.
He coined the term “worm hole”
Dolgor Ser Od and Marc Schmitz ’ biennial project Land Art Mongolia initiates critical conversations and creative experiments engaging with land art and social practice in rural Mongolia. In response to Rebecca Empson’s toolkit of ritually-infused materials used by women in Ulaanbaatar to secure future fortune, the duo are assembling their own archive of objects and substances that act as transportation devices to a place beyond the humanly-known and knowable, a realm they are calling North of the North Pole .
Baatarzorig Batjargal and Nomin Bold re-situate Bumochir Dulam’s ethnographic account of a “spiritual cleansing” of the Mongolian Prime Minister—amidst other documents of environmental protest—into the traditional ethnographic genre of “One Day in Mongolia” painting. MNG (Batjargal, 2018) illuminates many different aspects of daily life at once: caricatures of Mongolia’s “wolf” economy tangle through a cosmos of polluted yurt cities, whilst figures from the rebel River Movement battle psychedelic visions of environmental collapse.
Deborah Tchoudjinoff ’s Baigala consists of five immersive VR “visits.” The work enables gallery visitors to mount a saddle and experience the tangible impact of mineral extraction in western Mongolia, where much of anthropologist Lauren Bonilla’s work on extractive atmospheres—exploring the phenomenological registers of Mongolia’s economy (e.g. “dustiness”)—has taken place.
Yuri Pattison responds to Hedwig Waters’ research into salvage economies along the Mongolia-Chinese border. His pick, press, fang feng (the new economy) explores the transfiguration of the medicinal root Fang Feng (which translates literally as “Guard Against Wind”) from a recognisable organic object in Mongolia into a western pharmaceutical product.
Tuguldur Yondonjamts and Rebekah Plueckhahn have been taking walks together through Zuun Ail, an area of Mongolia’s capital city that in Rebekah’s words forms an “economic topography” where “failed investment, diverted funds, changing possession rights can be speculated on or explained using the physical landscape as a guide.” Tuguldur’s work 178-291, 875-953, 3006-3106 (Mirror Princess) connects Zuun Ail with the Mongolian epic poem Khan Kharangue, which the artist has translated into the binary music of the morin khuur (a two-stringed instrument also known as “darkest dark”).
EVENT – IN CONVERSATION: TUGULDUR YONDONJAMTS AND DENIS BYRNE
Thu 13 September 2018
Room 612, UCL Institute of Archaeology, 31-34 Gordon Square, London, WC1H 0PY
WORKSHOP – THE INFRASTRUCTURE OF FORTUNE: EXTRACTION AND RESISTANCE, LED BY MIKHAIL KARIKIS AND REBEKAH PLUECKHAHN
3.00pm – 7.00pm, Wed 10 October 2018
Arts Catalyst, 74-76 Cromer Street, London WC1H 8DR
The accompanying publication Five Heads (Tavan Tolgoi): Art, Anthropology and Mongol Futurism (Sternberg Press, 2018) features documentation of the art-anthropology exchange processes, alongside written contributions by Simon O’ Sullivan, Uranchimeg Tsultem, Richard Irvine, Tsendpurev Tsegmid, Hermione Spriggs & Rebecca Empson, and will be available for presale for the duration of the exhibition. link to publication
Five Heads is part of the European Research Council-funded project Emerging Subjects of The New Economy , led by Dr. Rebecca Empson in the Department of Anthropology, University College London, ERC-2013-CoG, 615785
An essay by Tsendpurev Tsegmid, made available by Afterall Journal for the duration of Five Heads (Tavan Tolgoi): Art, Anthropology and Mongol Futurism fiveheads.art
1998 was my first year as an art student. I was only eighteen years old. Art in Mongolia was taught as something you learn how to make. There were rules to follow: art was meant to be aesthetically pleasing to the eye. At the time, I was studying Mongol zurag, a strict form of miniature painting derived from Buddhist thangka art, and the idea of producing artworks beyond the borders of my stretched cotton was unimaginable for me.1 This changed when Dalkh-Ochir,2 one of the founding members of the Green Horse Society, started to visit our art school to meet with students. My teacher warned us about him and told us not to meet with him or listen to his words. Allegedly, his words could confuse young art students about what art was, and rumour had it that we were in danger of being ‘brainwashed and losing our way’. There was this implicit fear of the unknown amongst some of our teachers, which inevitably led to an intense fascination in students like me. I became curious about the development of contemporary art and became interested in learning what the Green Horse Society’s founders had to say about it. Since then, the enigma surrounding this group hasn’t faded and my naïve interest has gradually turned into one of my academic research enquiries.