**Black Walks** is an ongoing performance project using a black flag to explore identity, belonging, and visibility. Through walks in cities across Europe and Asia, it questions nationalism and citizenship, inviting reflection through embodied action

Yoko Ono’s Walking Piece (Grapefruit, 1964) turns walking into art: follow another’s footsteps silently across varied terrains, fostering mindfulness, bodily awareness, and making the enactment of the instruction the artwork itself.

Hélio Oiticica’s Delirium Ambulatorium explores urban wandering as a creative practice, a “to-and-from” movement without linearity, where walking through the city feeds the mind, transforms urban space into a playground, and allows new artistic ideas to emerge through sensory, bodily, and chance encounters.

Artur Barrio’s 4 dias 4 noites (1970) was a four-day, four-night solitary dérive through Rio de Janeiro, leaving no records—only memory itself, a hallucinatory archive that later informed and inspired his subsequent works.

Season for Falling and Invitation to Fall (2013) by Amy Sharrocks explores falling, risk, shame, and vulnerability. Sharrocks invites participants to fall physically, reflecting on control, exposure, and the human experience of loss of balance.

Crawl by Gail Burton is a durational performance at Alexandra Palace Park in which she crawled around the lake on hands and knees, exploring slowness, vulnerability, and bodily awareness while engaging with the park’s environment and public encounters.

Extreme Slow Walk is an exercise where participants move as slowly as possible, shifting weight with awareness. By disrupting habitual rhythm, it sharpens perception of breath, balance, and subtle bodily sensations.

Kaihōgyō is a rigorous Tendai Buddhist ascetic practice on Mount Hiei, Japan, where monks walk long circuits daily for up to 1,000 days over seven years, combining meditation, prayer, and discipline to pursue enlightenment through endurance and devotion.

Walk 2 (Margate, 2010) had 200 participants walk in silence atop the Marine Bathing Pool wall, maintaining one-metre spacing. Exposed to wind and cold, the walk demanded focus and discipline, fostering a meditative, trance-like awareness of body, rhythm, and environment.

In 1955, Shimamoto’s Please Walk on Here used stable and unstable boards to make participants physically experience risk and instability. Recreated for the 1993 Venice Biennale, it highlighted bodily engagement and precarious perception.

Kazuo Shiraga transformed painting into performance, using his feet to kick, drag, and smear thick oil paint across floor-laid canvases. His bold, dynamic gestures capture bodily energy, dissolving the line between artist, movement, and material.

World-Wide-Walks by Peter d’Agostino is a decades-long project exploring walking through physical, virtual, and networked spaces. Combining video, installations, and VR, it examines movement, perception, environment, technology, and human interaction.