“A thick layer of cosiness blankets over a hundred years of colonial history,” says a speaker’s voice – one of the many fragments of speech and visual layers comprising Anne Haaning’s total installation Half Hidden. The work centres on an abandoned cryolite mine in Ivittuut, Greenland and re-contextualises an amalgamation of archival materials. Haaning examines technological development within a broader historical perspective on resource extraction, mining and imperialism. With a fascination for forgotten places and structures that persist invisibly as memories and the sediment of time, Haaning delves into the Danish National Archives’ telegrams and other materials from Ivittuut.
Haaning’s artistic practice spans a wide spectrum of media, combining sculptural, architectural and digital structures with work-based conceptual research. Half Hidden includes animations, film clips, 3D reconstructions by the Danish National Archives, polarising objects, myths about the stone spirits documented by Knud Rasmussen in 1923, and written correspondence between Haaning herself and the shaman Nakasuk.