The apocalyptic landscapes from Anselm Kiefer's exhibition Walhalla moved me in such way that I wanted to keep chasing the feeling I had; of what the world may look like after the end. The afterlife, the apocalypse, but most importantly, the survival.
I want to explore this experience when I was examining the details of the painting and got totally lost in it, while my eyes were zooming it I felt like I was moving inside the painting. Suddenly I felt like my life was going to end soon and the painting was showing what I would see after I die. I left the room, shocked, but continued to see the rest of the exhibition. It was very hard and scary, entering each room not knowing what to expect. But the more I walked around, I started to see light and hope. For example, I was looking at a painting at close, and I could just see flames and darkness, but when I moved further away, I could see a that there was light in the horizon.
After I returned to the first room with the apocalyptic paintings, I felt relieved, because the way I saw the painting now was different. I could see it was still the same painting, the same landscape, but it wasn't chaotic anymore, it remained still and peaceful. It almost felt like a near death experience.
On the 18th of February, my friends will arrange a 2nd anniversary party
They had proposed me that I could do a projection for the party but I hadn't really thought about it until this exhibition. Then the two things came together: these apocalyptic landscapes would work perfectly for the projection.
The only instructions for the projection is that it has to be somehow related to the symbolism of number 2.
In Norse mythology, the Valkyries have the power to choose the warriors who will die and who will survive. The fallen warriors are taken into either Valhalla or Fólkvangr, afterlife paradises. The way they are being selected isn't described precisely; it has only been said that the Valkyries bring the warriors into Valhalla. There isn't as much said about Fólkvangr, except that it's a meadow, whereas Valhalla is a hall.
The way I imagine these warriors are being selected is that there must be an inbetween place where the warriors are being separated and instructed to enter either of the rooms. Possibly, the Valkyries wait for them in this room, and they take the warriors to Valhalla.
The ambiguity of the number 2 is never ending. It can symbolise dualism, polarism, separation, intersection, progression.
In countdown from 3 to 1, at 2, is the time of realisation of whatever is going to happen soon. Ideally, the countdown would stop at 2. At 3, nothing has still changed, at 1, the panic hits, at 0, everything is over. So at 2 we are inbetween. The adrenaline makes us more proactive but you are still able to look both back and forward, and priorise.
This book was great for researching different ways of how numbers can be presented and countdown visualised. The use of different tools, codes and symbols - in the end, the most simple and most efficient was still counting with fingers. This also creates an eerie feeling that the countdown is in the (literally) hands of a person, not a machine.
As in Ancient Rome, a simple gesture of raising ones finger could end the gladiators life.
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