CV Anna Hesselgren Januari 2020 PDF
Drawing “Drum Guidance” drawing on paper and red pencil (150×115 cm), 2015,at the Mejan Arc Exhibition “Take a Walk on the Wild Side” , Mindepartementet, Skeppsholmen, may June 28- June 7 2015.
(Also shown at Bring Your Own Beamer/BYOB, Verkstad Konsthall, Norrköping , 2016)
FURTHER READING
Game Urbanism- Manual for Cultural Spatial Planning, Hans Venhuizen, 2011
The SAGE handbook of Action Research- Participatory Inquiry and Practice, ed. Peter Reason & Hilary Bradbury, 2008
Sketches for modell building to make gesso casting of urban voids (the spaces in between)
Kvarteret Ortdrivaren / Erskine’s houses, Kiruna City Center
Passage between Geologgatan and Bergmästargatan, Kiruna City CenterStamps of birch used for making images of Lapp life. Stamps of birch, cut at one end, the other smooth. L 13,5 cm, Br about 3.5 cm. Found 15/8 1972 in the magazine, from Johan Turi’s estate, Mem. Used for making images of Lapp life; cf. 228777-228800. G [Åva of] Unknown. [consumption variety:] Lapland Jukkasjärvi sn Talma Lapp village. (DigitalMuseum/Nordiska Museet) Stamp of wood (birch), relief image carved in the end grain of birchwood handle, showing three reindeers. Short square shank. L. 8 cm. From Johan Turi’s estate. Used in the production of paintings from the Lapps life. Ink. 8 / 11 1944 gM curator Ernst Manker. [consumption variety:] Lapland Jukkasjärvi sn Talma Lapp village.
Johan Turi (although Johan Thuuri or Johan Turi, the Swedish population registration John Olofsson Thuuri or John Olsson Thuuri), born March 10, 1854 in Kautokeino, Norway, died November 30, 1936 in Jukkasjärvi parish, was the first Sami author who wrote about Sami conditions. After the Russian border closures on the Arctic moved Johan Turi like many others in the 1880s to Sweden and settled in Talma Sami village. [1] [2] For many years, Johan Turi wanted to write a book about mountain Sami’s life. He had never been to school, but had learned to read and write as an adult. First he wrote in Finnish, because he felt that Sami was too little language for a book that would have any success. He was, however, to write in his mother tongue, north Sami Kautokeino Dialect. Johan Turi met little understanding of their environment for unnecessary projects. In 1904 he met the Danish writer Emilie Demant Hatt, who wanted to live a year along with mountain Sami. He helped her to realize this wish, and in return, she promised to come back to help him with the book project. This happened in 1907, when Johan Turi and Emilie Demant-Hatt moved into a barracks at Torne marsh. He wrote while she took care of the household and additionally encouraged him in this work. When Turi few months later was ready the manuscript, which consisted of a variety of notebooks and loose sheets of paper was taken care of by Emelie Demant-Hatt who was close friend Hjalmar Lundbohm, managing director at LKAB Kiruna, helped him publish the book. The title was Muitalus sámiid birra (A book about Sami’s life), published in 1910. The first edition reproduces the Sami text with Emelie Demant-Hatt’s translation into Danish and Turi’s own illustrations. In 1917 the book was published in Swedish in translation by Sven Karlen and KB Wiklund. [3] Muitalus sámiid birra has been translated into English, German, Hungarian, Japanese, Italian, French and Finnish.
Templates cut from thin slices of reindeer antlers in openwork work, manufactured and used by Johan Turi himself. From Talma Lapp village, Jukkasjärvi parish, Lapland. (source: Digitala Museet /Nordiska Museet)
SCHABLONER för renfigurer, skurna ur tunna skivor av renhorn i genombrutet arbete, tillverkade och använda av Johan Turi själv. Från Talma lappby, Jukkasjärvi sn, Lappland.(Nordiska Museet)
The drumming, joijking and sacrifying were the only ways to establish and maintain the important mutual relation between the sajva-people in the underworld and the living population. (Bäckman, 1976) Every family father had his drum to turn to in difficult situations for guidance. (Manker, 1971) For the Sami shaman, the drum was the instrument that helped him to put himself in a trance. During the trance the shaman could travel to other worlds, the world of the gods or to any other place he wanted to visit. Besides helping in travelling in time and space the drum could also be used to cure diseases or to find out about the future. To cure a sick tribe member the noaidin’s (sami shaman) task was to find out what sacrifice the gods called to cancel the disease from the victim’s body. With the drum the noaidin could even help find out cirumstances that were important to the group. When you would go out hunting, when you would move, or what god who demanded a specific sacrifice .(http://www.samer.se/1209) Sájva= lake with two bottoms; the soul; the realm of the dead Sájva– spirits=the spirits of the dead Drum figures show the world they moved in . Here are the most important animals depicted; wild and reindeer, the predators that threaten them. Hunting, fishing boat and nets and reindeer herding. Mountains and lakes visible. People, gods and goddesses, as well as the settlement [leirplassen] with cots and storage buildings. Common symbols on the drum is the Father (The radius-Attje), Mother (radius-akka), the Son (radius-pardne), Väraldenolmai, Leibolmai, Tiermes, Whore Galles, weather god, Bieggolmai, shaman, Sarakka, Uksakka, Juksakka, Rota, Jabmeaimo, turf hut, Lavvu, camp, bågstångskåta, church, stores, grave, njalla, luovvi, offerlave, Peive, Ailekesolmak, magic shots, reindeer, bear, moose and wolf .
I will make a drum with icons for this project. The drum with mapped buildings , people’s movements etc becomes a compass for my research. I am now searching for a drum maker in Lapland through the Sametinget (Sami Parliament)
Mapping spaces in-between in Kiruna
March 12 2015 SVT/Nordnytt
Now the first residential area in Kiruna will be demolished .There are 80 apartments in the residential block Ullspiran to be demolished.
Tenants have already moved to replacement dwellings. It is the first major residential block to be demolished on the grounds when the LKAB mine expands towards the city. Mining causes ground deformations that make parts of Kiruna uninhabitable.
– We have divided the demolition of Ullspiran in phases, two houses will be settled first. When the second phase of settlement starts is not entirely clear, it depends on the predictions of the deformation, we have gained a bit of time since the deformations go a little slower, says Maria-Therese Edlert LKAB project leader for the settlement of Ullspiran.
After the demolition of homes, the area will become a green space , a buffer zone between the mine and the community.
– The area will become a park, demolition material will be reused in gabionbaskets, a kind of steel cages that shall shape the foundations, then we preserve inside courtyards with play equipment and barbecue places that the public will have access to, says Maria-Therese Edlert LKAB project leader for the settlement of Ullspiran.
It is LKAB’s mining operations on the main level 1365 feet underground causing ground deformations in the society. A total of 3,000 homes are to be phased out and 6,000 people who will have to move in phases. The work on the main level in 1365 is estimated to year 2035.
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Svenska: Nu rivs första bostadsområdet i Kiruna. Det är 80 lägenheter i bostadsområdet Ullspiran som ska rivas.
Hyresgästerna har sedan tidigare flyttat till ersättningsbostäder. Det är det första stora bostadsområdet som rivs med anledning av att LKAB:s gruva expanderar mot staden. Gruvbrytningen orsakar markdeformationer som gör att delar av Kiruna måste avvecklas.
– Vi har delat in rivningen av Ullspiran i etapper, två gårdar kommer att avvecklas först. När den andra etappen av avvecklingen inleds är inte helt klart , det beror på deformations prognoserna, vi har vunnit lite tid eftersom deformationerna går lite långsammare, säger Maria-Therese Edlert LKAB projektledare för avvecklingen av Ullspiran.
Efter rivningen av bostäderna kommer området att bli ett grönområde, som ska bli en buffertzon mellan gruvan och samhället.
– Området kommer att bli en park, rivningsmaterialet ska återanvändas i gabionkorgar ett slags stålburar som ska gestalta husgrunderna, sen ska vi bevara innegårdarna med lekutrustningar och grillplatser som allmänheten kommer att ha tillgång till, säger Maria-Therese Edlert LKAB projektledare för avvecklingen av Ullspiran.
Det är LKAB:s gruvbrytning på huvudnivån 1365 meter under jord som orsakar markdeformationerna mot samhället. Totalt kommer 3000 bostäder att avvecklas och 6000 personer som måste flytta etappvis. Livslängden på huvudnivån 1365 är bedömd till år 2035.
Chantal Mouffe’s agonistic theory encompasses the need for a conflictual consensus in democracies. Mouffe argues that artists, architects and others in the cultural field creating agonistic public spaces play an important role in the development of alternative forms of subjectivity. Her criticism of the participating practice that takes place without an open debate with irreconcilable positions towards a common goal are important to my understanding of the spaces in-between and the participation practice. Mouffe in dialogue with the architect and artist Markus Miessen (Miessen, 2012) is a major source of these ideas where Mouffe clarifies her theory, and highlights an important critique of the proponents of automism, Michael Hardt and Antonio Negri, and their anti-institutional approach where a perfect democracy would only be possible without power relations or antagonism. (Miessen, 2012) Mouffe argues that antagonism can never be wiped out in the community and joins Derrida’s “democracy in constantly becoming”. Mouffe develops the core concept of agonistic spaces, where she shows the example of Alfredo Jarr’s work Skoghall (2000) – an art gallery built out of paper and lit on purpose afterwards along with residents’ demand for a reconstruction of the art hall that arises – illustrates the artist’s role in the creation of agonistic space. ( Mouffe, 2013)
Chantal Mouffe, Agonistics: Thinking the World Politically, 2013
My understanding of the concept space in-between is also influenced by central notions within the post-colonial critical theories. The concept of third space in Edward Soja’s theory is defined as a different way of understanding and acting to change the spatiality of human life, a mode of critical spatial awareness (Soja, 1996). The concept is open to a continuing expansion of spatial knowledge and enables the contestation and re-negotiation of boundaries and cultural identity. This is close to Homi Bhabha’s theory of cultural hybridization (Bhabha, 1994), in which all forms of culture are continually in a process of hybridity, that sets up new structures of authority, new political initiatives.The process of hybridity gives rise to something different, something new and unrecognizable, a new area of negotiation of meaning and representation. The Third Space acts as an ambiguous area that develops when two or more individuals/cultures interact, as in my project placed in an urban transformation with many different agents.
Spaces In-Between in Kiruna City Transformation 
