katrina niebergal
WORK:
— COME, MEMORY
dancer’s slab
— flowers
— the figure of a woman
— card carrying saint
publications
contact
cv



















come, Memory is a film and scenographic installation; a result of a long trajectory of research, experimentation and collaboration, that centres on a series of ancient (especially Neolithic) European sacred sites, and looks speculatively, through embedded, eroded and residual evidence, at the presence/absence of the divine womanly (Great Mother) and at human-spiritual-relationships with the earth.

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Ogygia: testimony to a disappeared civilization
super 8mm transferred to digital with sound
9 minutes, 48 seconds

filmed in Malta in December, 2021
additional footage shot on Texel, Netherlands
NARRATOR voiced by Nele Möller

link to film (password required)


No talking spring
super 8mm transferred to digital with sound
8 minutes, 32 seconds

filmed in Athens, Delphi, Delos, Naxos, and Crete, Greece, in April 2022
additional footage shot in the Okanagan Valley, Canada
THE ORACLE voiced by Diana Duta

link to film (password required)


the great mound (mama)
super 8mm transferred to digital with sound
10 minutes, 25 seconds

filmed in Wiltshire, UK, in September 2022
additional footage shot in Den Haag, Netherlands
CROWD voiced by Bergur Anderson, Johan Björck, Jake Caleb, Tracy Hanna, Daisy Madden-Wells, Laura Piasta, Ceola Tunstall-Behrens, Annemarie Wadlow, and Katrina Niebergal

link to film (password required)


Sound for all films by Bergur Anderson



mirror, 2023,
found object: glass mirror


prickly pear, 2023
glazed stoneware


(Knight’s) Head, 2023
glazed stoneware
72 x 38 x 47


sign (arrow), 2023
wood, paint


(Kouros’) Foot, 2023
glazed stoneware
76 x 33 x 64.5 cm


Cock, 2023
glazed stoneware
63 x 50 x 23 cm

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link to exhibition booklet containing an exhibition text written by Jen Weih and the film scripts. Doubled-sided, A2 riso-print, edition of 100.



come, Memory
May 19 until June 3, 2023
WET, Rotterdam

installation photos: Nick Thomas

The project was kindly supported by the Canada Council for the Arts’ Research and Creation Grant and by CBK, Rotterdam