We arrive in Emmadorp and walk towards the imposing long dike that embraces the Verdronken Land van Saeftinghe like an ancient boundary. Once we reach the top, near Emmahaven, a panorama unfolds that truly reveals the immense scale of this tidal landscape. The horizon seems endless. In the distance, we see a group of walkers

Walking Between Worlds reflects on Made of Walking Prosperpolder as an evolving walking arts practice. Through walks, performances and dialogue, it explores how artists, communities and landscapes co-create long-term ecological and social relationships.

Made of Walking – Prosperpolder | 11–17 September 2026, Belgium. A week of walking, art, ecology, care and exchange on the Belgian-Dutch border. Join artists and partners from across Europe. Free participation. Apply by 15 August.

That maybe a Sufi quote about dervishes, the whirling kind, of which I read about in To the Lake by Kapka Kassabova: “A precept of dervishism is renouncing possessions, surrendering to the Road.” The subtitle of her book is “A Journey of War and Peace” and, as she writes of her travels along the shores

Our journey, in early July 2026, to Fort Liefkenshoek with Marc Dhaenens, Anna Maria Mestdagh, and me is, to say the least, sobering. The route leads us through a landscape of container terminals, towering loading cranes, bridges, chemical plants, and an almost endless network of roads crowded with heavy trucks moving in every direction. Everything

You’re flying low-cost and don’t want to pay for checked luggage. You’re allowed one bag, 25 × 40 × 10 cm, small enough to fit under the seat in front of you, and everything you take must earn its place: every piece has to be both essential to you and acceptable by airport security. You’re

The Contemporary Creation Centre Nau Côclea and the Museu Memorial de l’Exili (Exile Memorial Museum) invite artists to apply for the Walter Benjamin Creation Grant 2026. For thirteen years, the Walter Benjamin Route has invited artists to engage with questions of memory, borders, exile, critical history and the act of walking itself. Artists are asked

It was around five in the morning on the shores of Lake Prespa in Northern Greece when I first encountered Ridha Dhib: a figure moving slowly along the water’s edge, a walking stick in hand, conversing with a strange, synthetic voice coming from a small red speaker clipped to his hip. The lake was still,

During the first two editions of Made Of Walking by The Milena principle (2015 and 2016, Delphi, Greece), we had the opportunity to meet two remarkable walking artists: the Dutch artist Ienke Kastelein and the Greek artist Katerina Drakopoulou. Through numerous international projects, their artistic practices have become widely recognized within the field of walking

This article is available in French and Spanish. On May 30, Gigacircus presented the Festival of Hospitality in Villefagnan, bringing to a meaningful close the French hosting phase of the WALC project, Walking Arts & Local Communities. Before the dinner concert held in the village community hall, more than eighty residents took part in an

Here in the northern hemisphere we have just enjoyed the longest day, more daylight than at any other time of the year. We have been having quite a heatwave too, the early mornings and late evenings have been a relief as temperatures have dropped, and wonderful shadows have been revealed. To inject a bit of

We arrived in the flatlands of the Charente in the last days of May, carrying laptops, agendas, PowerPoints about our deliverables, European acronyms and all the fragile optimism required to believe that human beings from five countries can agree on anything. It was a heatwave. Our nostrils tingled with the whiff of ammonia rising from

We are delighted to announce the winner and runner-up in the second chapter of our six month-long On Pilgrimage poetry competition, for which the theme was “A Sacred Place“, chosen by volunteer judge  Emma Storr. Emma was joined in judging duties by Peter Finch, and together they not only scored but conferred to determine the winner

A few years ago, a group of Australian walking artists came together to form the appropriately named Australian Walking Artists. Going from strength to strength, they recently published a book, Australian Walking Artists, Volume 1 24/25, highlighting work by the members of their organisation. One of the group’s founders, and president, Molly Wagner, wrote an

With a contribution from Martyn Howe offering e-book copies of his new book, The Coast is Our Compass, in which he describes a personal pilgrimage to walk the coast of England along what is now officially the King Charles III National Coastal Path, as a monthly prize, our Shorelines project has had a new lift.

A despatch from our story-writer-in-residence Penny Walker. 30th April Golders Green station to Highfield Avenue, and back 1.5 miles I am by myself among strangers who are friends: women walking together in sisterly solidarity.  We meet just before six, outside Golders Green station, on the small semi circle of grass where the buses turn. At

Venice in May. Green water, muted light, the racketing of tourists’ wheeling luggage across damp stone. Now the Biennale has opened there are new sounds, sometimes protest chants, sometimes the footsteps of marchers. Or perhaps they are old sounds. Venice: a stage for spectacle and protest since the upheavals of 1968. The clamour of a

The long-distance running and ritual dance among the Ralámuli of Mexico’s Sierra Tarahumara is a practice that holds the power to heal and sustain the world. Author Sylvie Marchand has lived among them for years and reflects on this ritual through a dialogue of perspectives: that of Erasmo Palma, Ralámuli poet and cultural guide, and

Our current poet-in-residence, Elizabeth Fevyer takes her kids to Toronto and wonders where everyone is.  We arrive in Toronto one evening at the start of February half-term, as swathes of North America are recovering from some of the heaviest snowstorms in decades. We’ve barely left the airport taxi rank before one of my sons points

Around 2011, the Nau Côclea Contemporary Art Centre entered a moment of crisis, and so did I. It was not only a question of funding. I was also concerned with questions of format and with the relationship between audiences, artists and artworks, a relationship too often reduced to mere consumption. At the centre, people moved