In a continuing series throughout the duration of The Walking Encyclopaedia, we'll be highlighting, daily, the works of four 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.
#71 - Morag Rose
www.nowhere-fest.blogspot.comhttps://www.facebook.com/groups/10667409530/
The Loiterers Resistance Movement
The LRM
(Loiterers Resistance Movement) is a Manchester based collective interested in
psychogeography, public space and the hidden stories of the city. We can’t agree on what
psychogeography means but we all like plants growing out of the side of
buildings, looking at things from new angles, radical history, drinking tea and
getting lost, feeling like a tourist in your home town. Gentrification,
advertising and blandness make us sad. We believe there is magic in the Mancunian
rain.
Our city (and everywhere else) is wonderful and made for more than shopping. We want to reclaim it for play and revolutionary fun…. On the first Sunday of every month we go for a wander of some sort and we also organise occasional festivals, exhibitions, shows, spectacles, silliness and other random shenanigans. Please come and join us; everyone is welcome. First Sunday events are always free, because the streets belong to us and we want to be astonished.
Our city (and everywhere else) is wonderful and made for more than shopping. We want to reclaim it for play and revolutionary fun…. On the first Sunday of every month we go for a wander of some sort and we also organise occasional festivals, exhibitions, shows, spectacles, silliness and other random shenanigans. Please come and join us; everyone is welcome. First Sunday events are always free, because the streets belong to us and we want to be astonished.
Morag Rose has been the chief
mischief maker with The LRM since its conception. A writer, artist and
community development worker she challenges the elitist aspects of psychogeography
rendering it an accessible, engaging and egalitarian praxis. The LRM embark on dérives to decode the palimpsest
of the streets and aim to nurture a critical awareness of everyday space,
(re)engaging with and (re)enchanting the city. Inspired by the Situationist
International there is an explicit political agenda to our walks which reveal
power relationships and inequalities within Manchester. Using psychogeography
as a kinaesthetic, learning tool we blur the boundaries between activism, art
and academia and imaginatively (re)map our city according to desires emotions,
memories and serendipitous encounters that emerge during the dérive.
The LRM’s entry into The Walking
Encyclopaedia is an unaddressed envelope produced as part of a Cornerhouse
Micro-commission. Our artistic
interventions celebrate, interrogate and disrupt the everyday and we wanted to
encourage folk to loiter wherever they live. A limited edition of 250, each
envelope is unique and includes an assortment of fieldnotes, practical tools
and random delights designed to be left in public spaces to be discovered and
taken for a wander.
To find out more about The LRM, and
how you can join us
please email loiter@hepzombie.co.uk
join the facebook group “the loiterers resistance movement”
tweet @thelrm
or see www.nowhere-fest.blogspot.com
please email loiter@hepzombie.co.uk
join the facebook group “the loiterers resistance movement”
tweet @thelrm
or see www.nowhere-fest.blogspot.com
-------------------------------------------------------------------------------------------------------------
http://niwilliams.wordpress.com/
MAPPING IN MOMENTUM
‘The map is open and connectable in all of its dimensions; it is detachable, reversible, susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a mediation.’ (Deleuze and Guattari,
1987: 12)
Mapping in momentum is a collaborative project which aims to provide a cartographic provocation for walkers, one that will influence patterns of walking behaviour and develop new reflections on the experience of walking.
The project follows the philosophy of Felix Guattari, in particular his conceptualisation of cartography, in which the map ‘loses its primary vocation of having to map the Territory’, and ‘the distinction between the map and ‘the thing mapped’ starts to disappear’ (Schizoanalytic Cartographies 2012: 35, 268). Guattari provokes the notion that the map is a fixed representation, by exploring how cartography inspires new forms of practice. This view can prompt us to think of the map as an entity in flux, constantly constructed, appropriated and amended.
Drawing on Guattari’s idea that a map is a tool which initiates new thought and action in the world, Mapping in Momentum collates postcards that exhibit an array of performative journeys that begun with the motif of a map.
To contribute to Mapping in Momentum please take a postcard and complete your own map on the blank side of the card. Bearing in mind that, for Guattari, the map is ‘not a mere representation of an existing or ideal human environment, but rather an active, diagrammatic force’ (Brian Holmes, Guattari’s Schizoanalytic Cartographies 2012), think about how the map might alter your path, inspire new footwork, or guide different thoughts along a route.
What you choose to map is entirely your decision, as is the material you choose to create it with. Comments and any personal details in the message section are welcome but not essential. So far I have been posted maps of flight, maps of memory, maps of walks yet to transpire. Some maps are black and white sketches, others adorned with trinkets gathered along the way. Once returned the postcards are displayed in a virtual gallery at: http://niwilliams.wordpress.com/
Mapping in Momentum was conceived by Nina Williams, a PhD researcher in Human Geography at the University of Bristol. Her work explores how walking is, and can be, manifested as an aesthetic practice, in ways that reveal the manifold processes through which the world engages us. The progress of this project and other work can be followed at: http://niwilliams.wordpress.com/
‘The map is open and connectable in all of its dimensions; it is detachable, reversible, susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a mediation.’ (Deleuze and Guattari,
1987: 12)
Mapping in momentum is a collaborative project which aims to provide a cartographic provocation for walkers, one that will influence patterns of walking behaviour and develop new reflections on the experience of walking.
The project follows the philosophy of Felix Guattari, in particular his conceptualisation of cartography, in which the map ‘loses its primary vocation of having to map the Territory’, and ‘the distinction between the map and ‘the thing mapped’ starts to disappear’ (Schizoanalytic Cartographies 2012: 35, 268). Guattari provokes the notion that the map is a fixed representation, by exploring how cartography inspires new forms of practice. This view can prompt us to think of the map as an entity in flux, constantly constructed, appropriated and amended.
Drawing on Guattari’s idea that a map is a tool which initiates new thought and action in the world, Mapping in Momentum collates postcards that exhibit an array of performative journeys that begun with the motif of a map.
To contribute to Mapping in Momentum please take a postcard and complete your own map on the blank side of the card. Bearing in mind that, for Guattari, the map is ‘not a mere representation of an existing or ideal human environment, but rather an active, diagrammatic force’ (Brian Holmes, Guattari’s Schizoanalytic Cartographies 2012), think about how the map might alter your path, inspire new footwork, or guide different thoughts along a route.
What you choose to map is entirely your decision, as is the material you choose to create it with. Comments and any personal details in the message section are welcome but not essential. So far I have been posted maps of flight, maps of memory, maps of walks yet to transpire. Some maps are black and white sketches, others adorned with trinkets gathered along the way. Once returned the postcards are displayed in a virtual gallery at: http://niwilliams.wordpress.com/
Mapping in Momentum was conceived by Nina Williams, a PhD researcher in Human Geography at the University of Bristol. Her work explores how walking is, and can be, manifested as an aesthetic practice, in ways that reveal the manifold processes through which the world engages us. The progress of this project and other work can be followed at: http://niwilliams.wordpress.com/
---------------------------------------------------------------
#73 - Norma D Hunter 100 Reasons to Walk & Meandors
Meandors
“If the art of walking is in the mindful movement through life,
then the individual(s) should go forward consciously.
The following steps should be undertaken in order, the first 6 repeated if desired till the 7th can be fulfilled.”
The Meandors were created in early 2009 as a participatory art piece by Norma D. Hunter
100 Reasons to Walk
-------------------------------------------------------------------------------------------------------------------
#74 - Paige Tighe - Walk With Me
http://paigetighe.com/walk-with-me-project.php
http://walkwithmepaige.blogspot.com/
-----------------------------------------------------------------------------------------------------
#75 - Pam Patterson
Pam Patterson has, for over 35 years, been active in the art and women’s communities. Her research, performance and teaching have focused on embodiment in art practice, the body in art, disability studies, women and gender studies, and feminist art education. She has taught for various institutions such as: Ryerson Polytechnical University, Wilfrid Laurier University, University of Waterloo and the University of Toronto. For the past five years she has been Associate Scholar for the Centre for Women’s Studies in Education at the Ontario Institute for Studies in Education of the University of Toronto and Director for the interdisciplinary arts program, WIAprojects and teaching at Ontario College of Art and Design University in art and design education. She has curated and organized over 50 events for various venues. As a performance and visual artist she was a founding member of FADO Performance and ARTIFACTS and has exhibited and performed internationally.
"Walking" Home ( A Room with Bath)
I have been attempting to find an inexpensive accessible place to live in an urban centre. The most recent one I looked at in Toronto was an apartment the size of a prison cell! And I still couldn't afford it! Small Room with a Bath addresses the lack of affordable housing for seniors in Canada. It is “paced out” as action accompanied by an excerpted sound track of a parliamentary debate.
Still (attached) & video of "Walking" Home (2013
Inter
In Inter, I occupy the inter-stitial spaces-as-body between home and lake, between thought and action. The action is simply to travel with a bucket and a tea cup of water from my home in the country over a day to Lake Ontario and to return as evening falls. My only nourishment is the small amount of water in my tea cup. I carry this with care and sip from it when needed. I use the bucket to urinate in. On reaching the water, I have seemingly unlimited resources - to wash the bucket, to cool my body but can I drink it? Assumptions around resources come into question.... I still need to return home after I reach the lake but now with no water.
ARTIFACTS (Pam Patterson & Leena Raudvee)
Click here to see the video
ARTIFACTS, formed in 1983 by Pam Patterson and Leena Raudvee, produces feminist collaborative works which combine the concerns of art and theatre; they have fused these two traditions into a unique hybridity. While concentrating on performance, ARTIFACTS has also created video and visual exhibitions. Research-in-process, doing-as-action define our practice. Performance works include: 606060 (2012), Palimpsest (2011), Homage to Margaret: Cleaning and Loving It (2010), Headaches 2 (2009), In/Valid (2005), The Voyage Out (2003) for Hysteria Festival, and Passing (2001) for 7A11D International Performance Art Festival.
-----------------------------------------------------------------------------------------------------
#76 - Paul Jones
And So On To Kinder Scout
In this work Jones explores the notions of territory, walking, pedagogical aesthetics and the Mass Trespass of Kinder Scout by the Rambling association in 1932. The video includes performance, archived 35mm slides, and a sampled voice over.
Paul R Jones explores the site of geographical boundaries in order to interrogate notions of fluidity, ambiguity and stability. For the Walking Encyclopaedia exhibition Jones has submitted work that highlights his engagement with walking as a tool for questing how landscape can be a shaper of identity. The video performance ‘And So On To Kinder Scout’ (2013) humorously explores the romanticism of rambling and the power relationships involved in territorial control.
For ‘in provinciam proficisci ‘(2012) Jones references the ruckenfigur, a device often employed by Casper David Friedrich and is common in advertising scenes of the great outdoors.
‘Latitude 52°55’17.09”N, Longitude 2°45’38.01”W’ (2014) documents a boundary walk between England and Wales across Fenn’s, Whixall and Bettisfield Mosses National Nature Reserve, Britain’s third largest lowland raised bog that can be seen from space.
---------------------------------------------------------------------------------------
#77 - Philippe Guillaume - Every Foot of the Sidewalk
http://www.philippeguillaume.com
Dessa Forma -
Photograph (from a series of 36 photos) taken during a peripatetic performance in São Paulo, Brazil, Sunday 17 November 2013.
15:30 – High Culture and sports are pivots of globalization. I undertook a daytime walk between a Museum (MASP) and a football stadium (Pacaembu Stadium) in São Paulo. My walk forms a meandering loop that starts and ends at the museum. The course of the dérive was determined with directions given by random strangers along the way; I carried a plastic bag containing postcard size photos brought from Montreal; each person who provided directions was offered a photo. At the stadium, I collected a junk artifact to bring back to the museum. The dérive back to MASP follows the same guidelines as to the stadium. At the museum, I took a picture of the junk artifact from the stadium. 18:12.
My principal media are photography and walking, which I use to challenge traditional views of lived, ambulatory spaces. The resulting works are multi-image photographic and video compositions that disrupt the unitary picture of private and public spaces. Taking unknown paths that result in peripatetic loops, interacting with strangers, and walking through foreign spaces are recurring strategies in my work, which are complicated by the formal characteristics of the photographic image as used from a conceptual standpoint
 |
|
Philippe
Guillaume, Dessa Forma, 2014, from Dérive Between a Museum and a Stadium,
São Paulo, 2013. Walking, camera, tuque, havaianas, plastic bag, beer can,
colour pigment prints.
|
Photograph (from a series of 36 photos) taken during a peripatetic performance in São Paulo, Brazil, Sunday 17 November 2013.
15:30 – High Culture and sports are pivots of globalization. I undertook a daytime walk between a Museum (MASP) and a football stadium (Pacaembu Stadium) in São Paulo. My walk forms a meandering loop that starts and ends at the museum. The course of the dérive was determined with directions given by random strangers along the way; I carried a plastic bag containing postcard size photos brought from Montreal; each person who provided directions was offered a photo. At the stadium, I collected a junk artifact to bring back to the museum. The dérive back to MASP follows the same guidelines as to the stadium. At the museum, I took a picture of the junk artifact from the stadium. 18:12.
My principal media are photography and walking, which I use to challenge traditional views of lived, ambulatory spaces. The resulting works are multi-image photographic and video compositions that disrupt the unitary picture of private and public spaces. Taking unknown paths that result in peripatetic loops, interacting with strangers, and walking through foreign spaces are recurring strategies in my work, which are complicated by the formal characteristics of the photographic image as used from a conceptual standpoint
Every Foot of the Sidewalk: Boulevard Saint-Laurent, 2010-2012.
What would the sidewalk of my street reveal if photographically described as pure presence, devoid of human beings? Boulevard Saint-Laurent is a major corridor in Montreal, charged with history, culture, and the aura of generations of people for whom it represented a destination, where many have also walked. It is a space made from profuse places, an imaginary line that for some divides and for others unites. I want to see what photography and walking reveal when this iconic place no longer has its primary component: People. Walking through the city the pedestrian comes upon public spaces that have ceased to perform their primary function because they are empty. Empty public places become spaces of dystopia and the sidewalk a kind of void stage, while “a post pedestrian city not only has fallen silent but risks becoming a dead language,” writes Rebecca Solnit. My project shows the sidewalk spaces along Boulevard Saint-Laurent, a popular street in Montreal nicknamed La Main where I live empty of human presence. This work involves photography, walking, time and place.
During the two years I photographed this work people often stopped me to ask what I was photographing. Some came out of their homes wondering why I was taking a picture of their house from across the street. Most were genuinely interested to hear about my artwork, and many were perplexed when I explained that it was not their house but the empty sidewalk that passed in front of their home that was the real space I was snapping with my camera. In this sense, my project resulted in a form of spontaneous social activity where strangers interacted and thought about art. As I began to see the results of this visual experiment, I was struck by something of a categorical shift. The absence of people in the picture frame denotes a distinctive component in the history of art that goes back to landscape painting. The series bridges representations of the city and wilderness. In fact, without any
visible human presence along the street, Boulevard Saint-Laurent appears in its own state of wilderness. While it was never imagined as a signifier for the pathos of absence, Every Foot of the Sidewalk does reveal the power of spaces in which we stage our daily lives.
During the two years I photographed this work people often stopped me to ask what I was photographing. Some came out of their homes wondering why I was taking a picture of their house from across the street. Most were genuinely interested to hear about my artwork, and many were perplexed when I explained that it was not their house but the empty sidewalk that passed in front of their home that was the real space I was snapping with my camera. In this sense, my project resulted in a form of spontaneous social activity where strangers interacted and thought about art. As I began to see the results of this visual experiment, I was struck by something of a categorical shift. The absence of people in the picture frame denotes a distinctive component in the history of art that goes back to landscape painting. The series bridges representations of the city and wilderness. In fact, without any
visible human presence along the street, Boulevard Saint-Laurent appears in its own state of wilderness. While it was never imagined as a signifier for the pathos of absence, Every Foot of the Sidewalk does reveal the power of spaces in which we stage our daily lives.
------------------------------------------------------------------------------------------------
#78 - P. J. Roggeband - WALK THE GARDEN
WALK THE GARDEN (portable, HOMO HORTUS CONCLUSUS(or 'Human Hortus Conclusus') PJ Roggeband & Hans van Lunteren, 2013 Man destroys nature, man protects nature. With this data, the artists have played. They have the perspective reversed. It is nature that man bricks up, inures and shields. In their man is surrounded by a portable garden,. The HOMO HORTUS CONCLUSUS regularly, the square foot garden outside, in nature, to the shoulders of man. The exuberant garden.
-----------------------------------------------------------------------------------------------------------------
No comments:
Post a Comment