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1969

Following Piece

New York, NY, USA

performance

Collection · 166 items

creating encounters

Collection · 151 items

walking as research.

Collection · 150 items

place

Collection · 341 items
Walking piece
No longer available

In autumn 1969, Vito Acconci embarked on an unusual artistic pursuit in New York City. He chose people at random on the streets and followed them, continuing until they entered a building. The duration of these pursuits varied, sometimes lasting only a few minutes, but occasionally extending for hours. His trail weaved through various boroughs including Manhattan, Brooklyn, Queens, and the Bronx. The course of his journey was captured in a central map that was part of the project’s documentation. This pursuit, while seemingly intrusive, represented Acconci surrendering control as the routes were dictated by the strangers he followed. He described this experience as losing his individual identity to some extent, becoming a part of a larger plan. Acconci documented this project through a typescript that outlined the specifics of his approach and a photocollage that recorded several of these following incidents.

APA style reference

Fakhamzadeh, B. (1969). Following Piece. walk · listen · create. https://walklistencreate.org/walkingpiece/following-piece/
Submitted by: Babak Fakhamzadeh

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pedinamento

A highly influential ideologue of neorealism, scriptwriter and director Cesare Zavattini suggested “pedinare,” the Italian word for stalking or shadowing, as a technique for filmmaking. Pedinare in cinema entailed “tailing someone like a detective, not determining what the character does but seeking to find out what is about to ensue.” The etymology of the word in Italian suggests “legwork” as it is derived from the Italian word for foot, “piede.” It is possible to suggest that the proliferation of images of walking in Italian Neorealism is closely linked to the technique of pedinamento, not because all neorealist filmmakers were followers of Zavattini, but because going out onto the street to encounter the everyday life of post-war Italian cities and creating cinematic tools to articulate these encounters were major concerns for the filmmakers of that era.

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