In a continuing series throughout the duration of The Walking Encyclopaedia, we'll be highlighting, daily, the works of several practitioners who employ the walk within their practice. Each of the highlighted artists and artworks were submitted for exhibition to The Walking Encyclopaedia. In each case alongside their artist statement, a link to the artist's website is provided for further exploration.
The Walking Encyclopaedia is a co-production between AirSpace Gallery and the Walking Artists Network.
#55 - Jozua Zaagman
www.jozuazaagman.nlwww.onomatopee.net
I am an walking artist from the Netherlands. My work is about the informal use of public space in relation with the economical structures of a city or urban area.
Comfort zone & disillusion #4: Jozua Zaagman, for Onomatopee / book / January 2011
This booklet can be seen as an atlas compiled from a bottom-up perspective, featuring hands on maps and statistics, and insight text into the place and position of this very conduct. It manifests how we, as individuals, live in public areas and how our behaviour there, actually establishes public space. As Jozua Zaagman charts the actual imprints of people in that space, he acknowledges real urges and personal wishes, tracing them with an entirely new approach. All maps were drawn and designed by Jozua Zaagman in coperation with Arthur Roeloffzen.
The Nest series of 2011 is a follow up of the earlier series from 2010. Trying to keep a strong visual link with the earlier booklets we wanted to evolve their qualities into a new series. The booklets are based on a 8 page cover that is folded to the outside instead to the inside.
The outer flap is slanted cut, resulting in two colour surfaces and scattered typography. This factor changes in colour and position during the series.
The inside attempts a nice mixture of full colour and duotonal pages. The work of the specific artist is enhanced by the text from different authors and a specific chosen font type.
The ongoing series 'Nest', spotlights emerging talent in art and design. Every publication represents one artist, that is also featured in an exhibition at the Onomatopee project space.
http://jtwinenow.blogspot.com
https://twitter.com/jtwinedotcom
On Old Path is a photo documentation of the evolving, ephemeral NIESATT outdoors drawing/installation/performance - a conceptual temporary interactions with nature project, where action and object become one. The project explores ancient trails and fictional ancient trails, as well as the idea of the long gone and still there, the path and passing - touching aspects of walking patterns, transitions, migrations and repetitions.
The project explores walking on ancient trails in Southern Germany: partly retracing them with white letter-size sheets of paper, emphasizing fragmented sections of usually long interconnecting pathways.
Traces of Times Past -
Traces of times past” are reenacted, retracings of possible walking patterns in a once busy military hospital, using white letter-size paper to draw on floor-spaces, building lines that are connecting rooms, becoming aesthetic incisions in a morbid environment. “Traces of times past” is a project that sees drawing as an activity rather then a product, emphasizing the process over the result.
http://jtwinenow.blogspot.com/2013/10/traces-of-times-past-angel-island-speed.html
For the past ten years Trautwein has been working on his Gesamtkunstwerk the evolving NIESATT drawing and multimedia hybridization project, which reflects on issues of ephemeralness, disposability, depersonalization, disinformation, reproducibility, prefabrication, repetition and the unpredictability of the next thought; a project where meaning and statement levels are overlying each other.
Jürgen Trautwein's work has been shown widely in museums, non profit art spaces, festivals and galleries around the world and is included inprivate, corporate and public collections. His work has been included in many books and publications such as File Festival Sao Paulo,European new media art Festival Osnabrueck, Plato Sanat Istanbul, Stuttgarter Filmwinter, Arte -TV, Rhizome Artbase, Net art.org,
Seattle Times, LA Times, Stuttgarter Zeitung, El Centro & Hoy Quito, Micromuseum Athens, Net art guide Frauenhofer institute, BadischeNeuste Nachrichten, Javamuseum and Furtherfield.org.
Trautwein holds a Meisterschueler Degree from the University of the Arts Berlin.
Karin Wästlund (1972) is a visual artist born and currently living in Gothenburg, Sweden. She works in various media, but mainly in painting, drawing, film, photography and installation. She is also a teacher of Visual arts.
Uses walking as both an artistic expression and an artistic method. It´s an everyordinary day practice but also a catalysator for the artistic procress. Central themes in her artwork are the relations between the body and the surroundings. Walking as an artform is highly activating in a wide sense and is something most people can relate to, which makes both the viewer and the particpant more easily in to it. Karin has done both individual performances and social performances including other participants. She often also remodells the experience from her walks to visual or audiovisual objects or leaves visual traces during a walk.
www.kellyrankin.com
What I discovered is that walking and photography is my method to get at something, a way to work out an idea or problem. I noticed that while out walking with my camera my mind would slow down, become more open and I would feel free from daily routines and mundane busyness.
When I am out wandering in this way, without a goal or intention, it is as though things in the world emerge and ask to be captured. These are the moments that create the photographs I take. The photographs, or more precisely, the act of taking photographs while out walking provides me with energy and the experience of being in the world unfettered. Wandering aimlessly provides me with space. Space enough to think, space enough to allow an idea to emerge.
For me, walking and taking photographs are part of my creative process and, to a certain degree the resulting photographs do not matter. In fact, I have come to learn that even though some of the photographs I take are good in and of themselves, they often have nothing to do with the project or problem I happen to be working on. They are, as I see them, moments of clarity.
walk in a box (2010)
All walks are made up of a series of moments and landmarks of memory. I’ve become interested in trying to ‘box’ these little moments, instead of trying to map an entire walk. Here, six photos can give the illusion of extracting the space in which the walker momentarily inhabited, in a sense removing them from the picture. Once assembled, the box can be used to hold objects found on the walk.
writing between the lines (2013)
Originally exhibited at ‘Walking in the City’, as part of the ‘In The City’ Series at The Parlour Showrooms
Inspired by Michel de Certeau’s divorcing of the voyeur who reads without being able to write and the walker who writes without being able to read what they have written, this map was devised for both perspectives.
Viewed at a distance, the observer sees a network of roads and walkways, however, as they move closer, these passing places become blurred and slowly replaced by the names of locations.
I am an artist-researcher based in Liverpool, whose research concerns the relationship between walking and performance. I completed a PhD in Drama at the University of Exeter and teach Contemporary Performance Practice at Liverpool Hope University. I have previously devised performance walks with Ginko Projects, the Office of Subversive Architecture and Exeter Ignite Festival. I am a member of the AHRC funded Walking Artists Network and am on the board of directors for C&T Applied Drama Company.
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#56 - Jurgen Trautwein
http://www.jtwine.comhttp://jtwinenow.blogspot.com
https://twitter.com/jtwinedotcom
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| The Loin
The Loin - http://www.jtwine.com/013walkdex.htm
The Loin of San Francisco is an experimental net-based documentary project of a neighborhood walking through it filming others walking in it. On daily walks through this downtown neighborhood a handheld pocket camera or phone is used to document the situations played out on these heavily populated sidewalks, without actually knowing what the camera will capture. When editing the material it is often surprising to see situations one has not been aware at the moment of passing by. |
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| On Old Path |
On Old Path - http://jtwinenow.blogspot.com/2013/07/on-old-path.html
On Old Path is a photo documentation of the evolving, ephemeral NIESATT outdoors drawing/installation/performance - a conceptual temporary interactions with nature project, where action and object become one. The project explores ancient trails and fictional ancient trails, as well as the idea of the long gone and still there, the path and passing - touching aspects of walking patterns, transitions, migrations and repetitions.
The project explores walking on ancient trails in Southern Germany: partly retracing them with white letter-size sheets of paper, emphasizing fragmented sections of usually long interconnecting pathways.
 |
| Traces of Times Past |
Traces of Times Past -
Traces of times past” are reenacted, retracings of possible walking patterns in a once busy military hospital, using white letter-size paper to draw on floor-spaces, building lines that are connecting rooms, becoming aesthetic incisions in a morbid environment. “Traces of times past” is a project that sees drawing as an activity rather then a product, emphasizing the process over the result.
http://jtwinenow.blogspot.com/2013/10/traces-of-times-past-angel-island-speed.html
Jürgen Trautwein is an interdisciplinary artist working in a variety of forms, including new media and hypertext works, temporary interferences, installations and classical forms such as painting, drawing and photography.
For the past ten years Trautwein has been working on his Gesamtkunstwerk the evolving NIESATT drawing and multimedia hybridization project, which reflects on issues of ephemeralness, disposability, depersonalization, disinformation, reproducibility, prefabrication, repetition and the unpredictability of the next thought; a project where meaning and statement levels are overlying each other.
Jürgen Trautwein's work has been shown widely in museums, non profit art spaces, festivals and galleries around the world and is included inprivate, corporate and public collections. His work has been included in many books and publications such as File Festival Sao Paulo,European new media art Festival Osnabrueck, Plato Sanat Istanbul, Stuttgarter Filmwinter, Arte -TV, Rhizome Artbase, Net art.org,
Seattle Times, LA Times, Stuttgarter Zeitung, El Centro & Hoy Quito, Micromuseum Athens, Net art guide Frauenhofer institute, BadischeNeuste Nachrichten, Javamuseum and Furtherfield.org.
Trautwein holds a Meisterschueler Degree from the University of the Arts Berlin.
He lives and works in San Francisco, USA and Bruchsal, Germany
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#57 - Karin Wastlund
http://karinwastlund.wordpress.com/works/walks/Karin Wästlund (1972) is a visual artist born and currently living in Gothenburg, Sweden. She works in various media, but mainly in painting, drawing, film, photography and installation. She is also a teacher of Visual arts.
Uses walking as both an artistic expression and an artistic method. It´s an everyordinary day practice but also a catalysator for the artistic procress. Central themes in her artwork are the relations between the body and the surroundings. Walking as an artform is highly activating in a wide sense and is something most people can relate to, which makes both the viewer and the particpant more easily in to it. Karin has done both individual performances and social performances including other participants. She often also remodells the experience from her walks to visual or audiovisual objects or leaves visual traces during a walk.
”She wanted fast – I wanted slow” (2010) – Photographs and video.
This work is about how we move around in the urban landscape. By suggesting a divided pavement in one fast and one slow lane, I wanted to raise questions about the relations between our bodily experiences and the surroundings. How do we get around today? And are we concious about it all when we do so?
I believe every person has their own individual pace when it comes to walking. Often I realize that when walking in company with others, sometimes syncronized but other times not. ”She wanted fast – I wanted slow” is exploring these questions of pace and how that pace feels inside our bodies. The walking activates us either we do it in a fast or slow mode and either we do it individually or together. Another question it raises is whether we have the time strolling around in the city at all today in the year of 2014? The project also links here to the theme of the ”flaneur” which once were introduced by Walter Benjamin and Charles Baudelaire in the early 20´s. I wonder who are the flaneurs of our days?
”She wanted fast – I wanted slow” (2010) – Photographs and video.
This work is about how we move around in the urban landscape. By suggesting a divided pavement in one fast and one slow lane, I wanted to raise questions about the relations between our bodily experiences and the surroundings. How do we get around today? And are we concious about it all when we do so?
I believe every person has their own individual pace when it comes to walking. Often I realize that when walking in company with others, sometimes syncronized but other times not. ”She wanted fast – I wanted slow” is exploring these questions of pace and how that pace feels inside our bodies. The walking activates us either we do it in a fast or slow mode and either we do it individually or together. Another question it raises is whether we have the time strolling around in the city at all today in the year of 2014? The project also links here to the theme of the ”flaneur” which once were introduced by Walter Benjamin and Charles Baudelaire in the early 20´s. I wonder who are the flaneurs of our days?
I believe every person has their own individual pace when it comes to walking. Often I realize that when walking in company with others, sometimes syncronized but other times not. ”She wanted fast – I wanted slow” is exploring these questions of pace and how that pace feels inside our bodies. The walking activates us either we do it in a fast or slow mode and either we do it individually or together. Another question it raises is whether we have the time strolling around in the city at all today in the year of 2014? The project also links here to the theme of the ”flaneur” which once were introduced by Walter Benjamin and Charles Baudelaire in the early 20´s. I wonder who are the flaneurs of our days?
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| She Wanted Fast... |
This work is about how we move around in the urban landscape. By suggesting a divided pavement in one fast and one slow lane, I wanted to raise questions about the relations between our bodily experiences and the surroundings. How do we get around today? And are we concious about it all when we do so?
I believe every person has their own individual pace when it comes to walking. Often I realize that when walking in company with others, sometimes syncronized but other times not. ”She wanted fast – I wanted slow” is exploring these questions of pace and how that pace feels inside our bodies. The walking activates us either we do it in a fast or slow mode and either we do it individually or together. Another question it raises is whether we have the time strolling around in the city at all today in the year of 2014? The project also links here to the theme of the ”flaneur” which once were introduced by Walter Benjamin and Charles Baudelaire in the early 20´s. I wonder who are the flaneurs of our days?
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| The Walk |
THE WALK (2011) – Acrylic and mixed media.
Over the bridges and around the city. Photographic documentation of a walk in city landscape of Gothenburg. Making marks, painted traces, grafitti-steppings or whatever you might call it. This is a well-known walk around a well-known city, my hometown, where different spaces were highlightened by painted traces. All those spaces that meen something extra to us, they are everywhere I think, no matter where we live in the world. I wanted to mark out those places and make them even more special and I did it with colour. Taking space and making the city ones own. These were the questions I wanted to raise in the project.
"April 24th Tuesday" (2010) –
Digital prints and sound-installation.
This project is a visualization of counted footsteps during one day in spring. Togehter with the prints the work contained a sound-installation of my heartbeats going on and on and on as well as the walking activity.
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| April 24th Tuesday |
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#58 - Kelly Rankin - The Walking Project
www.kellyrankin.com
To View The Book Directly, Click Here
http://kelly-rankin.blogspot.ca/p/the-walking-project.html
http://kelly-rankin.blogspot.ca/p/the-walking-project.html
I first conceived of The Walking Project in 2005. At the time, I was trying to gain a better understanding of my relationship with my camera, walking and the photographs I was taking.
What I discovered is that walking and photography is my method to get at something, a way to work out an idea or problem. I noticed that while out walking with my camera my mind would slow down, become more open and I would feel free from daily routines and mundane busyness.
When I am out wandering in this way, without a goal or intention, it is as though things in the world emerge and ask to be captured. These are the moments that create the photographs I take. The photographs, or more precisely, the act of taking photographs while out walking provides me with energy and the experience of being in the world unfettered. Wandering aimlessly provides me with space. Space enough to think, space enough to allow an idea to emerge.
For me, walking and taking photographs are part of my creative process and, to a certain degree the resulting photographs do not matter. In fact, I have come to learn that even though some of the photographs I take are good in and of themselves, they often have nothing to do with the project or problem I happen to be working on. They are, as I see them, moments of clarity.
The Walking Project was originally intended as an installation that required the viewer to physically interact with it. Instead of walking into a room and inspecting images hung in a rectilinear space, the viewer was asked to move through and uncover the exhibit, in effect tracing the path of a möbius strip (see image below). By asking the viewer to physically interact with the installation, I tried to share something that I felt strongly while working on this project and that is the actual presence of the body in the creative process.
After completing The Walking Project I decided to create a book – I wanted a permanent document of the project – that book is the one included here in this exhibition.
Working on the book gave me an opportunity to relive the project, reminding me of what I had learned about my creative process and allowed me to see the photographs again for the first time.
BIO
Kelly Rankin, a Canadian artist currently based in Toronto, can still be found wandering aimlessly with her camera. Recently, she married her long lost love and hopes to be joining him at his home in Virginia soon. Kelly’s next project, tentatively titled, Walking to Virginia, will be about this change in her life, as she prepares to move from her hometown of Toronto to her new home in Virginia. It will explore concepts such as transition and walking. It will go beyond walking as a mode of getting (transitioning) from one place to another, but will also consider it as a method for integrating change (transition) and overcoming the fear brought about by the unknown.
After completing The Walking Project I decided to create a book – I wanted a permanent document of the project – that book is the one included here in this exhibition.
Working on the book gave me an opportunity to relive the project, reminding me of what I had learned about my creative process and allowed me to see the photographs again for the first time.
BIO
Kelly Rankin, a Canadian artist currently based in Toronto, can still be found wandering aimlessly with her camera. Recently, she married her long lost love and hopes to be joining him at his home in Virginia soon. Kelly’s next project, tentatively titled, Walking to Virginia, will be about this change in her life, as she prepares to move from her hometown of Toronto to her new home in Virginia. It will explore concepts such as transition and walking. It will go beyond walking as a mode of getting (transitioning) from one place to another, but will also consider it as a method for integrating change (transition) and overcoming the fear brought about by the unknown.
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#59 - Kris Darby
www.remapthemap.wordpress.comwalk in a box (2010)
writing between the lines (2013)
Originally exhibited at ‘Walking in the City’, as part of the ‘In The City’ Series at The Parlour Showrooms
Inspired by Michel de Certeau’s divorcing of the voyeur who reads without being able to write and the walker who writes without being able to read what they have written, this map was devised for both perspectives.
Viewed at a distance, the observer sees a network of roads and walkways, however, as they move closer, these passing places become blurred and slowly replaced by the names of locations.
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#60 - Lesley Stuart - Third Effect Pairings of Number 11 Drifts
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| Third Effect Pairings of Number 11 Drifts |
Art inspired by walking
I am a developing artist, living and working in Birmingham, recently completed foundation training at the Birmingham Institute of Art and Design. Currently I am using both printmaking and photography as a means of investigating the character and ambience of urban landscapes.
Influenced by the ideas of Guy Debord, I have used the psychogeographic technique of derive (drift) to explore six areas on the Number 11 outer circle bus route (one of the longest in Europe at 27 miles,and an iconic city feature) in Birmingham: Washwood Heath, Stirchley, Winson Green, Yardley, Kings Heath and Aston, between February and April 2013.
The work includes: a series of 40 photographs, a final selection of 20 paired images of the walking journeys undertaken; 6 altered photomontages of each of the 6 drifts; a photomontage of the entire journey; an A1 pixellated image of the entire journey; and a montage of the final 20 paired images together.
As a female flaneur, a wanderer without purpose, my walks have been both literal and metaphorical, seeking to convey something of the narrative of contemporary city life, as well as the ambiences created by the interplay between the physical, social and emotional qualities of public space. In this sense, my work references the 1990s documentary films of Patrick Keiller, London and Robinson in Space.
The photographs document these wanderings. I have used the technique of the “third effect” as a means of visual interpretation. Referencing Wilson Hicks (1937), this invites the viewer to make their own sense of paired photographic images that may or may not have relevance or meaning: thus creating the “third effect”. In this sense the final selected paired images enable the viewer to drift from various directions within an exhibition space, or online, as well as provide an opportunity to pause, and look.
I am currently working on an exploration of Mucking,in Essex on the Thames estuary,looking at how urban landscapes may provide ways of reading personal and social histories.
Lesley Stewart, January 2014
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#61 Louise Ann Wilson - Fissure
http://louiseannwilson.com/ |
Fissure
Fissure
Fissure, was a site-specific performance in which 180 participants made a journey by train then on foot covering a twenty-mile route that circum-navigated, descended-beneath, and finally ascended Ingleborough.
Fissure was Louise’s response to the illness and death, aged 29, of her sister due to a brain tumour and the grief caused by her loss. The piece created a space where the diagnosis of a terminal illness and its implications could be explored and her aim was to make a performance which transformed this very personal experience into a work of art that resonated with others on both an individual and universal level.
In planning the route and the places in the landscape for creative and scientific interventions Louise looked for fissured, symbolic, and diverse locations such as limestone pavements, shake-holes, cairns, scars, subterranean rivers, caves, and mountain tops. These choices were underpinned with neuro-scientific knowledge of the brains structure and its function and dysfunction. The shape and dramaturgy of the piece was informed by: key moments of her sister’s illness, death and the ensuing grief; oncology and treatment notes; and the liturgical structure of resurrection and underworld myths and religious narratives.
Participant responses include:
the piece tested my body's limits and on that climb on day three I could not help wondering what it must be like to be so ill that your body is tested to the limit and to the end.
‘Fissure’ has haunted me. As we walked across this place, I found myself shaken by its vastness and velocity [...]. My sense of scale of the landscape completely shifted when I began to learn more about the mapping and function, or rather dysfunction, of the brain. This was punctuated by bells, song, wind, cries, conversation, exchange, memories [...]. And loss. How loss can seep into every part of you and the landscape. [...] How walking through this 'place' can lead you somewhere, ever so different from where you began. [...] arriving somewhere you never thought possible.
Production photos: Bethany Clarke
Wool in rock photo: Scott Palmer
Poems: Elizabeth Burns
Dancers: Fania Grigoriou, Jennifer Essex, Julia Griffin, Luisa Lazzaro, Noora Kela, Sonja Perreten
Louise Ann Wilson has over twenty years experience working as a leading site-specific performance maker, scenographer and director with a national and international profile. She is the Artistic Director of the Louise Ann Wilson Company Ltd (LAW Co), see www.louiseannwilson.com, formed in 2008 to produce the performance work of Louise Ann Wilson. The company makes visual and multi-sensory site-specific performances in rural locations that seek to articulate, reflect upon, and transform significant life-events. This work is evolved in close collaboration with artists from a broad range of creative disciplines, experts from fields not usually associated with performance, and people with lay and local knowledge and skills. It is made through an extended period of immersion in a chosen place using bespoke processes and methodologies. Performances include: Ghost Bird (2012), a silent walking-performance and live art installation in the Trough of Bowland, Lancashire; Fissure (2011), a three day walking-performance created in the Yorkshire Dales; Jack Scout (2010) and Still Life (2008, rev.2009) both dance and live-art walking-performances created with Sap Dance in response to the environment and landscape of Morecambe Bay, Lancashire UK: Ghost Bird, Fissure, Jack Scout and Still Life.
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#62 Luce Choules
My arts practice explores physical and emotional geography, is rooted in poetic and academic research, with a methodology of experimental fieldwork and itinerant working. I travel with cameras, other documentary materials and tools, to create maps and site-specific works. I am a member of the British Cartographic Society, and Fellow of the Royal Geographical Society (with IBG).
My research interests are photographic mapping and transformative cartography. In 2010, I moved back to the UK having spent nearly three years making extensive field studies in the Chamonix valley area, Haute-Savoie France, and Tarragona area, Catalunya Spain. In 2011, I completed a period of independent research at the Foyle Reading Room archive, RGS, London, where I gathered reference related to the language of exploring landscapes to inform new process-based works. In early 2012, I explored elements of the Kent landscape as part of the Space Invaders commissions, funded by ACE and KCC. A few months later, I worked on a Rednile Projects commission, exploring the landscape of the Eston Hills in the north-east, near Newcastle. Last year, I received ACE funding to work with Ironbridge Gorge Museum Trust, exploring the curated landscapes of Shropshire. I am currently collaborating with Joya: arte + ecologia in Andalucia, Spain, as guest curator for a project that seeks to reintroduce water capture in an alpine desert environment.
Terrano
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Looks great! Thanks
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