BY INVITATION ONLY
Following a WALC Confluence to which Ernesto Pujol presented his work in response to the question “How do you document walking art?” we are convening a number of discussions, to address these questions (and others):
1. what do we document in which piece of walking art?
2. for whom do we document?
3. to what extent is walking, in your experience, an artistic or cultural practice, or even something more fundamental (here and beyond)?
The first discussion will be in Spanish, we will see Ernesto return to join a group of Spanish-speaking walking artists.
This event is by invitation only. We will run further discussions in English and other Walking Art & Local Communities partner languages over the coming months – if you would like to join these discussions, please complete the contact form below.
To join future discussion on “how to document walking art”, please add your name below and preferred language.
Hosts
Supported by
Walking Arts & Local Communities (WALC) is an artistic cooperation project, co-funded by the European Union, Creative Europe, starting in January 2024 for four years. With seven partners from five countries, WALC establishes an International Center for Artistic Research and Practice of Walking Arts, in Prespa, Greece, at the border with Albania and North Macedonia, backed up by an online counterpart in the format of a digital platform for walking arts.
WALC builds on the previous work of hundreds of artists and researchers already practicing Walking Arts as a collaborative medium, and having met at the significant previous walking arts events and encounters in Greece, Portugal, Spain, France, Belgium, and during online activities at walk · listen · create.
We acknowledge the support of the EU Creative Europe Cooperation grant program in the framework of the European project WALC (Walking Arts and Local Community).
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.
The documentation of a walk oscillates between trace and erasure, between memory and disappearance. Does what is archived fix the experience, or does it merely reveal its echo? In my performances, I ask myself: is documenting a way to extend the walk, or does it bring it to an end? Perhaps, in the end, every walk is already a writing in motion, complete in itself.