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Visual March to Prespes: walking with concepts and images
Our interactive, one-day seminar on The Visual March to Prespes: Walking with concepts and images will be held on Friday the 9th of January 2026 from 18:00 to 21:00 in the Contemporary Greek Art Institute (ISET) and streamed online. The Visual March to Prespes is a process that is taking place in the Prespes area
• The Blue Parade (what the body knows)
The Blue Parade is a participatory walking artwork created by Stefaan van Biesen and Annemie Mestdagh for the “Walking Practices/Walking Art/Walking Bodies” meeting in Prespes, Greece. The piece consists of a portable, ultramarine-blue textile structure carried collectively through the landscape as a “nomadic library.” Participants walk together, collect small objects from the environment, and place them in attached PET bottles, creating a mobile archive of local memory and identity. The act of carrying the canvas fosters awareness, cooperation, and a temporary community, turning the walk into a sensory, reflective ritual that highlights embodied knowledge, shared experience, and themes of journey and displacement.
Lone Wolf: Walking the Faultlines of Europe
From Adam Weymouth, the winner of the Sunday Times Young Writer of the Year Award comes an epic walk across the Alps in the footsteps of a wolf, throwing unique light on Europe’s mountainous hinterlands at a moment of political and environmental change. In 2011, a young wolf named Slavc set out from Slovenia. Tracked by GPS,
• The Long Way Home
A closely observed account of the author’s actual 5-week, 500-mile walk from Chicago to Minneapolis and parallel journey through the memories of his traumatic and painful life as a young man. His meetings with people and places along the journey open up the history, culture and experience of this part of the Midwest in a
Related
Visual March to Prespes: walking with concepts and images
Our interactive, one-day seminar on The Visual March to Prespes: Walking with concepts and images will be held on Friday the 9th of January 2026 from 18:00 to 21:00 in the Contemporary Greek Art Institute (ISET) and streamed online. The Visual March to Prespes is a process that is taking place in the Prespes area
• The Blue Parade (what the body knows)
The Blue Parade is a participatory walking artwork created by Stefaan van Biesen and Annemie Mestdagh for the “Walking Practices/Walking Art/Walking Bodies” meeting in Prespes, Greece. The piece consists of a portable, ultramarine-blue textile structure carried collectively through the landscape as a “nomadic library.” Participants walk together, collect small objects from the environment, and place them in attached PET bottles, creating a mobile archive of local memory and identity. The act of carrying the canvas fosters awareness, cooperation, and a temporary community, turning the walk into a sensory, reflective ritual that highlights embodied knowledge, shared experience, and themes of journey and displacement.
Lone Wolf: Walking the Faultlines of Europe
From Adam Weymouth, the winner of the Sunday Times Young Writer of the Year Award comes an epic walk across the Alps in the footsteps of a wolf, throwing unique light on Europe’s mountainous hinterlands at a moment of political and environmental change. In 2011, a young wolf named Slavc set out from Slovenia. Tracked by GPS,
• The Long Way Home
A closely observed account of the author’s actual 5-week, 500-mile walk from Chicago to Minneapolis and parallel journey through the memories of his traumatic and painful life as a young man. His meetings with people and places along the journey open up the history, culture and experience of this part of the Midwest in a
Cistêmâw iyiniw ohci (For the Tobacco Being) is a 2001 performance by Cree‑Métis artist Cheryl L’Hirondelle that reenacts and honors the historical travels of cistêmâw iyiniw — a Cree runner known for delivering tobacco and messages between communities in northern Saskatchewan. In the summer of 2001, L’Hirondelle wore a racing jersey and ran approximately 25 kilometres across the Makwa Sahgaiehcan First Nation reserve, following one of the traditional routes that cistêmâw iyiniw once traversed.
Rather than being presented in a conventional gallery setting, the performance unfolded within the community itself, engaging residents as active witnesses to the act of running as cultural practice. Alongside her, other artists — including Joseph Naytowhow, Louise Halfe, and Cheli Nighttraveller — worked with disposable cameras, Cree syllabics, and chalk to interact with the community and inscribe messages on the land, further blurring boundaries between artwork and lived experience.
Through this embodied journey, L’Hirondelle’s work places Indigenous modes of mobility, memory, and communication at the center of contemporary artistic practice, challenging conventional definitions of public art, audience, and performance. Her run was documented by a film crew and extended into radio broadcasts of the story in Cree, disrupting everyday media streams and broadening access to Indigenous narrative.
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As found on Hemisferic Institute’s website.
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