Sand mapping

Sand mapping

Between the 15th of July and the 31st of August we spent a six week MOKS residency in the small Estonian village of Mooste. Our work employed a variety of participative and interactive techniques to explore Estonian identity, and the relationships between people, place and history.

Sand mapping

Estonia is built on a layer of sand.

The beach in Mooste, with its sunbathers, volleyball court, and rubber rings, seemed at first sight (to us) strangely out of place, a sight we might usually associate with a summer holiday resort. A week or so later we came to appreciate it as a place that is central to everyday village life during the summer. I guess that the locals are proud of their beach. It is certainly an important part of Mooste’s identity.

We had been watching children build sand castles on the beach. Playing by the seaside sand castles are a temporary structure that will eventually be swallowed up by the sea. Sitting on the beach in Mooste I remember thinking ‘you can dig that moat all you like but the tide will never come up and fill it!’ The only way the structure will disappear in a hurry is through human intervention or a dramatic change in the weather.

We decided to build a 1:150 scaled model of Mooste in the sand, using simple homemade buckets/forms to represent the different types of architecture that can be found there, blending histories into a singular material. The buckets were then left, inviting local children (and adults) to continue building, extending, or demolishing the site. Perhaps this was another way of informing ourselves, or starting a dialogue with those that live in Mooste.

Further MOKS residency projects:


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Susanne Kudielka and Kaspar Wimberley work internationally as interventionists and performance researchers specialising in site-specific and site-responsive art, alternative strategies for audience interaction and new forms of artistic collaboration.

The artistic process usually begins with a given site, and a process of observation and dialogue that analyses, and eventually responds, to the architectural, socio-political, geographical, mythological, connotative and historical narratives that can be found there.

Projects are quietly subversive, playfully readjusting the narrative and appreciation of a particular activity or a given site. The working process often involves those that live in an area, and aims to be accessible and relevant.

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