Related
To Walk
To Walk is a poster project by Richard Wentworth featuring his characteristically anonymous photographs of places in England, distributed in towns such as Charleston, Ramsgate, and Rochester as an invitation for the public to walk and re-engage with their urban and rural surroundings.
Still Visible After Gezi
In Still Visible After Gezi, Roberley Bell documents 16 Istanbul trees photographed in 2010 and revisited in 2015. The installation traces memory, survival, and urban change, using frames to show each tree’s past, present, and absence after the city’s transformations.
Every Foot of The Sidewalk: boulevard Saint-Laurent
Every Foot of the Sidewalk photographs Montreal’s Boulevard Saint-Laurent devoid of people, revealing sidewalks as empty, almost wild spaces. The project explores absence, urban presence, and spontaneous social engagement through walking and photography.
Related
To Walk
To Walk is a poster project by Richard Wentworth featuring his characteristically anonymous photographs of places in England, distributed in towns such as Charleston, Ramsgate, and Rochester as an invitation for the public to walk and re-engage with their urban and rural surroundings.
Still Visible After Gezi
In Still Visible After Gezi, Roberley Bell documents 16 Istanbul trees photographed in 2010 and revisited in 2015. The installation traces memory, survival, and urban change, using frames to show each tree’s past, present, and absence after the city’s transformations.
Every Foot of The Sidewalk: boulevard Saint-Laurent
Every Foot of the Sidewalk photographs Montreal’s Boulevard Saint-Laurent devoid of people, revealing sidewalks as empty, almost wild spaces. The project explores absence, urban presence, and spontaneous social engagement through walking and photography.
Th series of photographs Land Mark (Foot Prints) is part of the body of work Allora & Calzadilla made regarding the situation in Vieques, an island off the mainland of Puerto Rico used for the 60 years by the U.S Military and NATO forces to practice military bombing exercises. In 2000, they began a collaboration with the local activists to make the campaign more visible. Having added cast rubber reliefs of their slogans and designs to the soles of their shoes, the activists stamped their protest on the reclaimed land. By slightly manipulating everyday objects to become communication tools, Allora & Calzadilla had created “mobile print-making machines” (Yates McKee, October 133, Summer 2010). They then photographed the ephemeral aftermath of these mark-making actions.
Like graffitied walls, the details of these impressions on sandy grounds are landscapes of dissent, willing the transition of propriety back to the inhabitants. In Land Mark (Foot Prints) #12, numerous footsteps with long statements stamp their resentment in different confused orientations. Such a beach scene might at first misleadingly be associated with a playful holiday snap. The fragility, uncertainty and relentlessness of this struggle is poetically summarized in this close-up of meaningful site-specific expression. The artists wrote: “How is land differentiated from other land by the way it is marked? Who decides what is worth preserving and what should be destroyed? What are the strategies for reclaiming marked land? How does one articulate an ethics and politics of land use?”
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As found on Kadist Gallery’s website.
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