Geomancy Art Projects in Fuerteventura

General

In geomancy, we engage with the subtle levels and dimensions of the Earth, human beings, other beings and existence as a whole. The Earth expresses these different levels visibly, for example through topography, but also through invisible energy flows, power centres of various qualities, the emotional consciousness of space… Geomancy seeks, among other things, to explore the influence of these processes on culture, tradition, historical events, forms of society, myths, legends and human beings in their personal everyday lives, and to identify and concretely implement necessary changes or stages of development.

People have always sensed places and landscapes that give strength, revered them as sacred and cultivated the quality of space culturally. They went to places with a magical attraction or strong radiance. They honoured both the subtle and visible forces and phenomena of the landscape. In doing so, they made them accessible and more clearly perceptible. At these sacred sites/landscapes, they established their cult centres such as stone circles, temples… and later churches…, which were then maintained by selected people and through rituals.

Ancient stone arrangements, particularly menhirs and stone circles, as well as labyrinths, were additionally aligned with the cardinal directions and with particular celestial bodies or star systems (Moon, Sun, Sirius, Pleiades…). They therefore also formed resonance chambers for the sounds of the stars and for their formative forces and information from the spiritual world that influence the Earth. In addition to recognising the multilayered nature of life and communicating about cosmic laws, this led to ritual observation and interpretation of the stars, insights into connections with certain terrestrial phenomena and with the fertility of the Earth. Similar to the stone circle on Earth, a corresponding circle of the heavens seemingly rotating around us emerged (tyr = to turn, the Tyr-/Tier-circle signs, Zodiac). This made possible, for example, calendar measurements and predictions of seasons or lunar/solar eclipses…

Geopuncture Circles

Geopuncture circles are modern stone circles. People of earlier civilizations went to enormous effort to create huge stone-circle sanctuaries. This arose from a close relationship with the Earth. At these sacred places created by humans, constant communication with the Earth took place, for example through rituals and through particular people such as shamans and priestesses…

We people of today no longer speak with the Earth as people once did in many cultures. We may know everything about atoms, the structure of matter, its reactions with other matter… Yet this understanding of the world is merely our own creation. It is not communication with the Earth. We live on the Earth as though in a house where people no longer speak to one another. We no longer have a language for speaking with elemental beings, angels… We now speak only the language of human beings. This is extremely anthropocentric. As a result, everything falls apart. Yet everything is constructed in an extremely complex manner and is meant to coexist. If one cog in a mechanism communicates only with itself, as humanity does, then the whole system falls apart. Every day we see around us how the world is collapsing. Scientists have received the Nobel Prize for clearly identifying when collapse will occur. Scientists and politicians still discuss the consequences of what happened 30 years ago. They argue and talk and talk about percentages of environmental damage that should be repaired. Yet thirty years ago, the measures whose percentages are being debated today should already have been implemented.

Geopuncture of Fuerteventura / Artis Tirma-Tarajalejo

The idea of creating such a stone circle on Fuerteventura in the Canary Islands came primarily from Mona Bienek together with Elvira Isasi and Gundula Harlan. After six years of preparation in terms of both time and space, the project finally took place in November 2008. Through the stone cosmograms, the Artis Tirma Art Centre thus offered art another possibility, a new task and a new role in the transformation of the Earth.

The stones required to construct the stone arrangement were donated to the project by Peter Kostelenski and came from an ancient volcano in Fuerteventura. Some consist of hard lava basalt, interspersed with small lava bubbles, and possess strongly individual characters.

The larger spatial context:

The Artis Tirma geopuncture circle is embedded within an enormous area that we call the Atlantic Landscape Temple. On the Canary Islands, forces converge that are nourished on the one hand by North and South America, on the other by Europe and Africa, and additionally by the North and South Poles. Each of the Canary Islands has different functions that extend beyond the region. In principle, they act like a respiratory system that opens, like an interdimensional portal, into different spaces, planes and layers of time. Fields of memory from the most ancient cultures (such as Lemuria, Atlantis…) from the deep layers of the Earth’s consciousness become accessible, as do present-day and cosmic archetypal realms. Here they are held in equilibrium and exchanged with the Earth cosmos.

The Atlantic region is like a water continent and also includes the lands along its shores. Water/the Atlantic is a Yin continent, while the land continent is Yang. Yin continents are not taken into consideration, although they are extremely important. It was not always this way; the Earth has meanwhile developed a balance determining where land and water are located.

The Atlantic Landscape Temple consists of two triangles: Greenland – pyramid complex of Mexico City – pyramids of Giza form one triangle, and Rio de Janeiro – South Atlantic – Africa form the second triangle. Between them, at the centre, lie the Canary Islands, which are also connected with the Atlas Mountains.

Within this larger context, Lanzarote contributes an enormous heart centre and Earth chakra, which swings like a seesaw or lemniscate between the southwest of the island (El Golfo) and the northeast (Mirador del Río), around the Grail landscape of the former capital Teguise (this was the objective of the first workshop on Lanzarote; see also Margan D. Kalb: “Lanzarote – Model of the Ideal Earth”).

On both islands (already recognised and ritually cultivated by the indigenous inhabitants), the power of Two is active: a harmonious connection between the visible and invisible, the incarnated and non-incarnated… The pivotal point on Lanzarote is the heart centre around Teguise; on Fuerteventura it is the island’s narrowest point near La Pared.

The power of Two is also reflected in the nature of the connection between the two islands: Lanzarote, the dark island (black lava), corresponds to the fertile Earth Mother, who provides us with the fruits of tangible life through Venusian love energy. The island is fertile and is still creating new soil from its youngest volcanoes, which are around 200 years old. Fuerteventura is the island of light (bare, almost without vegetation, with pale rocks and dazzling white beaches…), corresponding to the spiritual quality of the Goddess of Light. It preserves the corresponding information from the spiritual world. The pivotal point is the small island of Lobos, located close between the two sister islands, a mysterious islet reminiscent of Avalon or the island of Borondon.

Topographically and symbolically, Lanzarote forms the image of a sea turtle (Margan), an ancient Native American, Chinese… symbol for the Earth, the divinity of the Earth and the Earth Goddess, who creates life from herself and carries it through the primordial ocean of the cosmos; or it may be perceived as a woman giving birth (Peter Frank), whose pregnant belly is formed by the still-hot Fire Mountains. Fuerteventura is perceived as a reclining bright, white Goddess (Margan) or as an Atlantic enchanted green reclining princess (Marko), furthermore as a fish maintaining equilibrium between inhaling and exhaling forces (Margan), or as a cornucopia or two lungs (Marko).

In the next, smaller area to be considered (holon)

the Canary Islands appear like a butterfly (the ultimate artist of transformation). The individual islands are attributed the following spatial qualities and functions: El Hierro represents the root with coccyx and seat of the Kundalini; La Gomera the sacral chakra and sexuality; La Palma the solar plexus; Lanzarote the heart chakra; Fuerteventura the throat chakra with respiration/lungs; Gran Canaria the ancestral world and brow chakra; and Tenerife the crown chakra and also the location of the Canary interdimensional portal. This horizontal distribution of the islands is further penetrated by vertical fields of information: the spiritual interstellar worlds flowing in from the cosmos encounter the Atlantic holon, centred on the Canary Islands and their interdimensional portal and inner world of Atlantis, and exchange with the inner worlds of the Earth and vice versa.

This interdimensional portal opens inward, toward Atlantis, the Ocean of Light. It is like a memory of the ancient civilizations that sank into the depths of the Earth, and at the same time a bearer of archetypal wisdom. But it is not merely pure consciousness; there are also fairy-like beings. Elemental beings also participated in the technologies, rituals and culture of past ages. They preserve this knowledge within the Earth, where it continues to live. This knowledge incarnates in certain places on Earth and, to some extent, within us humans each time we incarnate. In the present dramatic moment of the collapse of the old Earth, we need their knowledge. The portals must therefore be open.

The Connection with Europe

is experienced, for example, through the following image (Johannes): the bull’s head of Europe = Spain observes or looks toward the Canary Islands, which act like “food,” inspiration, and this is inhaled. The bull is often symbolically represented with seven stars above its head (Marko), corresponding to the seven Canary Islands. The relationship with America is experienced through another image (Margan): a female being lies across the Atlantic, her legs being North and South America, her belly the Atlantic, while the Canary Islands constitute the respiratory system. The Canary Islands are furthermore experienced as covered with water—not physical water, but the spiritual quality, the omniscience of water (Thera)—and this spiritual essence of water lies over the region like a fine mist (Christine). On the Canary Islands, stored fields of knowledge belonging to lost cultures emerge again from the innermost layers of the Earth (Marko, Peter, Margan) and once more become available to support the transformation of the Earth and humanity (something always remains of what once existed, and this is born again and flows into a new incarnation. The layers of the Earth’s past appear always to sink toward the centre of the Earth; each new epoch is founded upon the preceding one and adds a new layer). A channeling (Gerlinde Fink) confirms the significance of anchoring these energies on the Canary Islands, something promoted through the connection of the many different people participating in the project.

In the smallest holon

the new stone circle lies at the Artis Tirma Art Centre of Elvira Isasi and Barbara Domanski. Here, the location is nourished by three surrounding sacred mountains: the first mountain, Caracol, lies directly behind Artis Tirma to the east, has three peaks and appears (Marko) to be inhabited by beings from another age, something reflected in the yurt at the Artis Tirma finca. The mountain is also experienced as a Goddess whose head has sunk onto her chest and who sends her energy into the landscape in the form of a sphere (Thera), or as a gigantic sphere of light (Peter) inspiring us to engage with the past in order to begin something new. Ancient knowledge flows into the landscape (Margan), and at higher altitude a kind of luminous image of the island can be perceived (Johannes). The second mountain to the west is El Cardón, an ancient sacred mountain with Neolithic settlements, while the third mountain is an isolated ancient volcano north of the finca, Montaña Tirba, which acts like a mandala mountain. This trinity in the surroundings is reflected in the three groups of three stones plus the central stone of the Artis Tirma geopuncture circle.

Structure of the Artis Tirma Geopuncture Circle

The stone arrangement was created using 3×3 plus 1, therefore 10 stones. The nine stones are arranged in a circular formation that opens into a gentle spiral.

• Three stones represent the primordial cosmic realm
• Three further stones represent the sphere of life on the Earth’s surface
• Three stones connect us with the inner realm of the Earth.

Through these three spheres, the cosmic trinity, the cyclical nature of existence and the feminine aspect of the cosmos are reflected, and each is once again divided into three levels. Through its 3×3 layers, this holographic worldview demonstrates the presence of the “Goddess” in the landscape. The holistic aspect corresponds to the primordial cosmic realm, the creative-generative aspect to the sphere of life, and the transformational aspect to the Earth’s interior.

• The 10th stone was placed slightly outside the other 9 and resonates with wholeness, the Divine, the Unnameable, the Eternal… This stone forms the axis between the centre of the circle and the Greater Whole. Normally, we place the Divine above and matter below. Here, within the stone circle, this is turned inside out, changed, transformed. The Divine does not operate cyclically, but is present at all times on every level of existence, from matter to the angelic dimensions. The 9th stone is therefore simultaneously inside and outside, the centre of the circle and beyond it, as well as a line.

All 9 stones bear cosmograms. The development of life follows a particular direction throughout the epochs: the Christ Force, which is active throughout all ages. Through human participation, the cosmograms are formed upon the stones in accordance with this process.

The three levels of the stone arrangement in detail:

1. Primordial Cosmic Realm:

a) The first stone in this group of three represents the divine presence, all-encompassing consciousness, cosmic Christ consciousness, this universal creative force, the crystal skull symbolically encompassing the entire universe. The place resonating with this energy is the sacristy, the Holy of Holies, in the church of Betancuria, the former capital of Fuerteventura, symbolised by the freestanding Christ Child, El Niño (see also the Christian saying attributed to Jesus: “I and the Father are one”). The corresponding cosmogram was designed by Marko and carved by him and Peter. It seeks to express this interstellar Christ consciousness.

b) The second stone represents divine love, the cosmic ray of love. The loving power of the universe is like a touch occurring at every moment, like a column descending from above with a force that is powerful yet gentle. Through this, the Earth becomes a realm of reality, a life filled with love, life as an expression of this love. The Earth begins to carry this quality outward. The place resonating with this energy is the ancient sacred mountain of Fuerteventura’s indigenous inhabitants, Tindaya, in the north of the island. The cosmogram on this stone was designed and carved by Margan. It activates the opening of the heart through contact with the cosmic ray of love, transforms human beings themselves into radiant places of love and compassion, and helps them to carry this quality into the world, for example through human feet (see also the ancient Neolithic rock carvings of feet in the caves of Tindaya).

c) The third stone reminds us that stellar waves influence the developmental cycles of the Earth. Their rhythmic formative forces plunge deep into the Earth like a dragon’s song, flowing through and enlivening it. When we are well grounded, we also have a good connection with the spiritual world; spiritual essence then touches us through the Earth, emerging from the Earth itself. The place resonating with this is a plateau above the Palm Valley, Vega de Río Palmas. A rock formation resembling a cosmic primordial egg is the focal point of this awareness. The associated cosmogram was designed and carved by Johannes in order to integrate this process more deeply into consciousness.

2. Inner Realm of the Earth:

Here we are dealing with the archetypal layers of Earth consciousness. It also contains the ancient civilizations that have withdrawn into an inner Earth universe. The worlds at the centre of the Earth are depicted as a terrifying place. According to religious concepts, this is where we are supposed to atone for our sins: universally feared hell. According to scientific concepts, the Earth’s centre is an unbearably hot region, a core of liquid or gaseous nickel/iron. Through both attitudes, the divine nature of the Earth’s core, of the being that is Earth, is denied. Attention is concentrated on the surface of the Earth. As a result, we remain superficial. Yet part of the process of becoming truly human is recognising the true function and meaning of these realms, this inner universe. For example, these layers can be experienced as the Halls of Amenti, Halls of Transformation (a realm for post-death processes). This has nothing to do with the Christian concept of a punitive hell. Furthermore, Gaia’s voice of love and wisdom flows from the depths of the Earth. She sends us messages from her sphere of consciousness (see crop circles or Atlantean, Lemurian knowledge) in order to facilitate the processes of transformation ahead of us. It is about establishing a relationship with the core of the Earth and recognising Gaia as a divine, angel-like being.

a) The first stone of this group of three brings us into contact with the Earth soul, which acts through the essence, the heart of the ocean—in this case the Atlantic. The Atlantic encounters the Earth with its primordial power. The unconscious connects with the knowledge of the Earth. The location with the strongest relationship to the Atlantic on Fuerteventura is La Pared; on Lanzarote it is El Golfo in the west of the island. The corresponding cosmogram was developed and carved by Christine. Through it, the Earth soul is supported in reflecting upon itself through Christ consciousness. The Earth acquires a very powerful identity (called Gaia, for example).

b) The second stone corresponds to the formative subconscious of the Earth. It is like an archetypal image of the Earth as paradise. The fairy world from the centre of the Earth, for example, participates in maintaining this image and transmitting it outward. Past civilizations are also involved, civilizations that descended into the depths of the Earth and became part of the Earth’s memory that is now accessible to us again, a spiritual reality experienced as a living aspect of the Earth soul. Or, to use another image: Christ and Gaia develop their relationship, so to speak, and particular forms and ideal archetypes of life emerge (animals, plants, the ideal human being = Adam Kadmon…). It is therefore a question of consciousness regarding these things. Here we find two corresponding places on Fuerteventura: Caracol, where Marko finds access to the fairy world, and the first rounded cave of Ajuy, which makes the essence of Lemuria accessible. On Lanzarote, we find a corresponding place in the ancient extinct volcano descending toward the sea near Ermita de las Nieves in the north of the island and in the associated sacred caves. The fairies are, so to speak, riding upon the dragon’s back of the volcano, guarding the dragon forces of the Earth. The cosmogram in the stone was designed and carved by Marko. A triangle and a square carved into the lava basalt—forms normally impossible to unite—open access to the fairy world from inside the Earth, which continues to live in the inner universe as a memory of Lemurian civilization.

c) The third stone represents the primordial power of the Earth. But this too has not yet incarnated; rather, it exists as a field of consciousness. Water and Earth encounter one another and become sound chambers that shape each other and exchange information. Over epochs and millions of years, selection then takes place: experiences involving particular archetypes are sometimes discarded when life collapses again and sometimes passed on. Continuous transformation is the result. Here there is a connection with Atlantean knowledge. We find a corresponding place in the second, elongated cave of Ajuy/Fuerteventura and, on Lanzarote, at Los Hervideros (“the Boiling Ones”—lava cavities on the southwest coast) near the salt pans. Johannes designed and carved the cosmogram in order to make this third aspect of the Earth soul visible and help activate it.

3. Sphere of Life on the Earth’s Surface:

This level represents society.

a) The first stone in this cycle symbolises the cultural shaping of the landscape: the primordial force of the Earth is now transformed into concrete, life-supporting (sexual) energies, into life force. The geomantic systems of the landscape are thereby created. The Earth is culturally and religiously reshaped; the quality of the Red Goddess of fertility becomes visible. She is the Goddess behind the Goddess behind the Goddess… she becomes her back and at the same time looks forward; she becomes the universe itself. Shadow consciousness, the ancestral world, strengthens us from behind. Here we find a corresponding place, or rather a church, Iglesia Nuestra Señora de la Regla in Pájara. It is constructed as a double church: the first entrance represents the visible world, daytime consciousness, and is decorated with many cultural symbols that provide an impression of how consciousness interprets culture. The second church entrance is undecorated, corresponds to the shadow aspect and reflects the way we perceive and deal with it today. Inside the church, this power of Two is also represented by two figures of Mary. The White Madonna, radiant and magically attractive, standing upon the crescent moon, represents daytime consciousness, while the Black Madonna represents the world of the female ancestors and our darker aspects. The key to creativity becomes possible through the synthesis of opposites. The cosmogram designed and carved by Peter seeks precisely to reactivate this connection. The stone and cosmogram are positioned in the geopuncture circle on the side of the three stones representing the inner realm of the Earth.

b) The second stone represents the creative forces of creation made possible after the preceding fertilisation, the very concrete manifestation through the Goddess of Abundance. The life-giving Goddess acting from the Earth brings into manifestation the cosmic archetypes acting from above. In the Palm Valley below the Río de las Palmas plateau, we find the corresponding place on Fuerteventura. It is a feminine natural sanctuary, a sanctuary of the Goddess, where the creative forces of nature operate with the participation of the entire elemental world. The cosmogram designed and carved by Thera makes this birth of life—the mother who creates and brings forth—visible and strengthens the feminine cosmic creative potential, which is heavily suppressed in a culture of exaggerated Yang and remains scarcely respected even today. The stone and cosmogram are positioned in the geopuncture circle on the side of the three primordial cosmic realm stones.

c) The third and central stone within the circle of 9 geopuncture stones now connects these qualities and represents society itself: the way cosmic impulses find concrete expression through the development of life. None of the 9 stones in the geopuncture arrangement are organised hierarchically, with the stones of the Earth’s depths at the bottom, etc.; instead, they move in a circular formation around this central stone. The circular form (or gentle spiral arrangement) of the geopuncture expresses the fundamentally feminine principal quality of the Fuerteventura landscape. The corresponding place on the island is therefore also a place containing ancient stone circles, Las Hermosas. The circles lie at the foot of Montaña Cardón and are nourished by a trinity of surrounding mountains. They are ancient sacred places of Fuerteventura’s indigenous inhabitants. The cosmogram for this most powerful of the nine stones was designed like a medallion by Thera, Christine and Peter, and carved by Peter.

4. The Stone of Wholeness

This stone, placed slightly outside the other 9, represents the way everything forms a unity. It therefore bears no cosmogram, since it is complete in itself and the Divine and Eternal are also inexpressible or indescribable. No image of the Divine can exist.