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Fernweh: A Travelling Curators’ Project

Mary Jane Jacob Claudia Zeiske•
Unknown license: Deveron Projects
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Collaboration

Collection · 49 items

place

Collection · 195 items

Rural

Collection · 19 items
Sub-collection

urban

Sub-collection · 112 items

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walkingevent

Drifting the Liminal (between urban and rural)

Small groups of walkers will circumnavigate what they perceive to be the border of Olot while mapping their walk. A psychogeographic walkshop with Chris Kaczmarek (US)

Christopher Kaczmarek•
walkingevent

From the center to independence, and back

Known as “The cry of Ipiranga”, the exclamation, by Dom Pedro I, was the moment Brazil became independent, in 1822, 200 years ago. To mark the historic moment, going back and forward in time, I’ll take a circular walk through São Paulo.

Babak Fakhamzadeh•
walkingevent

Last Tuesday Cafe

We’ll pick up on threads and themes that have been developing as we have collectively been considering aspects of place . Please register your interest by replying to this email by Sunday 25th April and we’ll send you additional details and link to the zoom call.

Kel Portman
walkingevent

Walkeology: Wunderkammers and the Culture of Place

Join me for Winchester University Heritage Open Days as part of their Cultural Heritage Resource Management Programme ‘Walkeology: Wunderkammers and the Culture of Place’. An invitation and opportunity to walk this week, make your own cabinet of curiosities and take part in the conversation on September 19th at 18:00 (BST) More details about the event

Fay Stevens
Published by Deveron Projects

Fernweh was a train travelling curatorial symposium exploring the role of travel in art.

The symposium was created by eight curators from Europe and the Americas across rural Scotland in 2013. During their journeys they visited villages, towns and art venues around the country to investigate the relationship between place, hospitality, collaboration, distance and the urban-rural, as well as other matters.

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

Added by Asli Ozgen-Tuncer
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