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1970

Man Walking Down the Side of a Building

Man Walking Down the Side of a Building
80 Wooster Street, New York, NY, USA

abstract

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mountaineering

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Tate Modern

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Aurora dos Campos

Aurora dos Campos is a set designer, artist and researcher. She holds a PhD in Fine Arts from the Faculty of Fine Arts of the University of Porto [FBAUP], having received a grant from the Foundation for Science and Technology [FCT] for her research entitled “Fictionalising Matter ∩ Materialising Fiction: The Artistic Practice of a Set Designer”. She is a research fellow at the Institute for Research in Art, Design and Society [I2ADS]. She holds a Master’s degree in Art and Design for Public Space from the Faculty of Fine Arts of the University of Porto, with the dissertation “Dramaturgies of the Everyday: Speculations on the Fictional Dimension of the Real” [FBAUP | 2019] and holds a Bachelor’s degree in Performing Arts with a specialisation in set design from the Federal University of the State of Rio de Janeiro [UNIRIO | 2006].

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Walking piece

OMWEGEN / DETOURS

OMWEGEN / DETOURS is a guided performance walk by Ienke Kastelein and Sarah Kaushik. Participants follow themed routes that sharpen the senses and explore shifting boundaries between body, nature, and perception.

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abstract

Collection · 5 items

mountaineering

5 sub-collections · 81 items

Tate Modern

Collection · 3 items

Related

url

Emmie Anne Alderson Theatre

A Pilgrimage for Sylvia is a ongoing performance and research project which focuses on Emmie's pursuit to find the remaining traces of Sylvia Plath's presence. The project so far h as taken the form...

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Aurora dos Campos

Aurora dos Campos is a set designer, artist and researcher. She holds a PhD in Fine Arts from the Faculty of Fine Arts of the University of Porto [FBAUP], having received a grant from the Foundation for Science and Technology [FCT] for her research entitled “Fictionalising Matter ∩ Materialising Fiction: The Artistic Practice of a Set Designer”. She is a research fellow at the Institute for Research in Art, Design and Society [I2ADS]. She holds a Master’s degree in Art and Design for Public Space from the Faculty of Fine Arts of the University of Porto, with the dissertation “Dramaturgies of the Everyday: Speculations on the Fictional Dimension of the Real” [FBAUP | 2019] and holds a Bachelor’s degree in Performing Arts with a specialisation in set design from the Federal University of the State of Rio de Janeiro [UNIRIO | 2006].

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Abstract submission deadline 15 July 2026 Recommended topics: Shared memory of experiences and knowledge Participatory research and practice as testimony of (the) memory Community-generated memory … Source: Submissions – Performativity(ies) of Memory(ies) Interdisciplinary Conference 2026

Andrew Stuck
Walking piece

OMWEGEN / DETOURS

OMWEGEN / DETOURS is a guided performance walk by Ienke Kastelein and Sarah Kaushik. Participants follow themed routes that sharpen the senses and explore shifting boundaries between body, nature, and perception.

Sarah Kaushik Ienke Kastelein
“Man Walking Down the Side of a Building” was first performed in New York in 1970. A man descended the side of a building at 80 Wooster Street, and is part of a series called ‘Equipment Pieces’, drawing attention to the simple act of walking in an unnatural scenario.

In “Man Walking Down the Side of a Building” a person literally walks down the side of a building, using a harness. It is part “of Brown’s series of ‘Equipment Pieces’, which had initially used mountaineering equipment to construct hoists, pulleys and restraints to enable movement in unusual spaces, or in ways, which put the performers’ bodies at odds with gravity. In keeping with the relative simplicity of the equipment used, Brown also had the performer of this piece wear casual clothing and to perform to the ambient sounds surrounding the building, (…). Her intention was not to create a sense of theatricality but to draw attention to the simple and natural act of walking through a situation in an unnatural scenario.” Acatia Finbow, June 2016 for Tate Modern

“A natural activity under the stress of an unnatural setting. Gravity reneged. Vast scale. Clear order. You start at the top, walk straight down, stop at the bottom. All those soupy questions that arise in the process of selecting abstract movement according to the modern dance tradition — what, when, where, and how — are all solved in collaboration between choreographer and place. If you eliminate all those eccentric possibilities that the choreographic imagination can conjure and just have a person walk down an aisle, then you see the movement as the activity. The paradox of one action working against another is very interesting to me, and is illustrated by Man Walking Down the Side of a Building, where you have gravity working one way on the body and my intention to have a naturally walking person working in the other way.” – Trisha Brown, Trisha Brown: Dance and Art in Dialogue, 1961-2001, Teicher, Hendel

The piece was re-enacted a few times, including at Tate Modern in 2006, Walker Art Centre in 2007, The Whitney Museum of American Art in 2010, Fondation Cartier in 2016 and Hamburger Kunsthalle in 2024. A 16mm film transferred to high-definition video, black and white, silent, duration of 2:17 min, under the same name is part of the MoMa Collection, NY.

Credits

CHOREOGRAPHY: Trisha Brown
SOUND: Ambient
Visual Design: Trisha Brown, Nonas, Richard, Jared Bark
COSTUME: Street clothes
LENGTH: Brief
Performers: 1
ORIGINAL CAST: Joseph Schlichter
NY PREMIERE: In and around 80 Wooster Street, New York, NY, April 18, 1970

APA style reference

Brown, T. (1970). Man Walking Down the Side of a Building. walk · listen · create. https://walklistencreate.org/walkingpiece/man-walking-down-the-side-of-a-building/
Submitted by: Ynaie Dawson

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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