Cartography | monsterivity
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Je référence juste parce que dans une semaine, je vais participer à un petit symposium sur la "cartographic performativity" et que je ne savais pas trop ce que ça recouvrait... Donc, je m’informe et je vous informe éventuellement !
Last week, I was very lucky to be a part of a symposium that celebrated the tenth anniversary of one of Cork city’s most disparaged pieces of artwork to date, Half/Angel’s The Knitting Map (2005). The Knitting Map is a very large knitted rectangle that maps both the movement of people in Cork city and the weather experienced in the city in 2005. It took over 2000 people (predominantly women) 365 days to knit the map, which took place in the crypt of St. Luke’s Church on the city’s north side. Today’s blog post is more interested in the discussions that took place during the symposium rather than the Map‘s history and the supposed “controversy” surrounding its production; however, as this was the subject matter of much of the discussion, I will also dip into some of the concerns that were raised during and after the making of the Map.
The Knitting Map Symposium: Art, Community and Controversy 2005 – 2015 was organised by one of the coordinators of the Map‘s production in 2005, Jools Gilson, hosting delegates Jessica Hemmings, Lizbeth Goodman, Roisin O’Gorman, Deborah Barkun, and Sarah Foster, and plenary speaker, Joanne Turney. The first session focused on the map as art practice and the second on the map’s reception, with special scrutiny on the apparent difference in attitude towards the Map by the Irish media and the media abroad. The papers and talks delivered by the delegates provided a fascinating insight not just to the Map itself, but to what it signifies as a material object and as a piece of performance, as well as its history and controversy.
#cartographie #art #performativité #cartographie_radicale #cartographie_narrative