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WALC Confluence 6 hosted by Nau Côclea documenting walking art, featuring Ernesto Pujol.
How do you document Walking art? Asks your host, Clara Gari from Nau Côclea. For some artists documenting their work is a process of making a further an artwork in itself, for others the walk is the document. In 1998, the CDAN (The Centre of Art & Nature) in Huesca, Spain, commissioned a piece for
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+2 The Lucky Trikes: Listening Pasts – Listening Futures
Storyteller Deirdre Harrison brings this storytelling chamber band that has been delighting intergenerational audiences since 2014. Dynamic, interactive readings of well-known and award-winning books are accompanied by improvised and composed music.
radicant backpack
This device is a fragment of an exposition that I called “radicant biomap” at MARQ. Buenos Aires. A line, a horizon that cannot stop and through the inherited and sustained plain defines a map that proposes the march. Ephemeral roots that only leave temporary traces to move like the radicals towards a destiny made of condensations of strokes, to generate a more fluid cartography through time that not only repeats situations, but creates new scenarios between the urban, the rural areas and the delicious spaces in between. A map of a new condition, which moves us and moves us towards new experiences in the territory to once again apprehend the inner turmoil of life. Jh @jesushuarte.arte @territoriodearquitectura Buenos Aires. Argentina.
Mars door Amsterdam
Unwary pedestrians, tram passengers, and motorists look on in surprise when they see a spectacle rolling through the center of Amsterdam. In the “March through Amsterdam” that took place on Friday, December 6, 1963, but the march did not have a demonstrative character; it is nothing more than a formation of six gentlemen who are apparently deliberately following a route.
Sited Body, Public Visions: silence, stillness & walking as Performance Practice (2012) is the “bodybiography” of social choreographer Ernesto Pujol, known for designing durational, silent, walking performances as socially engaged public art across cities. Through early childhood memories, queer adult anecdotes, letters exchanged with other artists, and generous performance notes, the author opens and shares his public process.
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