s expressive pavilions encourage ambitious installations. Architect Sverre Fehn’s Nordic Pavilion was completed in 1962 in the Giardini, representing Norway, Sweden and Finland. The building features three towering Mediterranean hackberry trees growing through the roof; broad glass sliding panels across two of its sides; and thin concrete vaults on the ceiling that flood the space with natural light.
She 3D scanned the ship, its head and tail – which by then had been removed from the main body – for ‘The Dreamers Quay’, her 2022 commission at Bonniers Kunsthalle in Stockholm. “In those works, I used the 3D scanned material in an ephemeral way,” she tells me, when we speak ahead of the pavilion opening. 'I used this idea of shadow play, bringing a contemporary spin to a traditional technique.
The opera has been recorded twice in the body of the original ship; once when it was decorated as a haunted house, and once empty. These will play in the pavilion, highlighting the transformation of the ship through time, in parallel with the protagonist’s journey. The real head and tail of the ship, once bright bronze, are now faded, with signs of wear and tear. 'What is left of the history?' she questions.
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