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2016

Obscene Elegy | Scene30 | Adrift

Video-Performance Still
6VVV+6M Contralmirante Cordero, Río Negro Province, Argentina

Chance

Collection · 19 items

drawing

Collection · 76 items

drift

Collection · 23 items

Landscape

Collection · 351 items

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The tactile experience of creative walking

In Fieldwalking – Groundlines, Ruth Broadbent created 72 drawings inspired by walking the landscape where a collection of flints were discovered.

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Dove Cottage

Mike Collier’s works at Dove Cottage transform Dorothy Wordsworth’s journals into abstract visuals, highlighting her walks through the Lake District. Using pastels and text, he maps her movements, rhythms, and observations, linking walking with poetic and artistic expression.

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A Common Third

In A Common Third, Simon Pope explores walking as a collaborative, intellectual, and social process. Inviting guests to navigate unfamiliar terrains together, Pope investigates how shared decisions, landscapes, and cultural practices shape both the journey and the experience of being together.

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Walking Drawing

In Walking Drawing, Marioni attaches colored pencils to his waist and walks along a long paper, creating wavy, overlapping lines that transform simple movement into a performance-based drawing.

Tom Marioni

Chance

Collection · 19 items

drawing

Collection · 76 items

drift

Collection · 23 items

Landscape

Collection · 351 items

Related

post

The tactile experience of creative walking

In Fieldwalking – Groundlines, Ruth Broadbent created 72 drawings inspired by walking the landscape where a collection of flints were discovered.

Ruth Broadbent
Walking piece

Dove Cottage

Mike Collier’s works at Dove Cottage transform Dorothy Wordsworth’s journals into abstract visuals, highlighting her walks through the Lake District. Using pastels and text, he maps her movements, rhythms, and observations, linking walking with poetic and artistic expression.

Mike Collier
Walking piece

A Common Third

In A Common Third, Simon Pope explores walking as a collaborative, intellectual, and social process. Inviting guests to navigate unfamiliar terrains together, Pope investigates how shared decisions, landscapes, and cultural practices shape both the journey and the experience of being together.

Simon Pope
Walking piece

Walking Drawing

In Walking Drawing, Marioni attaches colored pencils to his waist and walks along a long paper, creating wavy, overlapping lines that transform simple movement into a performance-based drawing.

Tom Marioni
Walking piece
In this video performance, the artist ran through the Patagonian desert with eyes closed, tracing a circular path. The journey is captured both from a body-mounted camera and a panopticon camera atop a mountain, revealing embodied and surveillance perspectives.

In this video-performance, I ran through the Patagonian desert landscape with my eyes closed, attempting to draw a circle with the path I followed.

The image on the left shows the perspective captured by a camera fixed to my body as I moved along the circle, while the image on the right shows the view from a camera mounted on a panopticon structure positioned at the summit of one of the mountains, offering an overarching view of the terrain.

This performance was realized during the Barda del Desierto residency.

Credits

Camera 1: Dani Spadotto
Camera 2: Fernanda Harrison Barros
Edition: Dani Spadotto
Performance: Dani Spadotto
Sound Design: Dani Spadotto

APA style reference

Spadotto, D. (2016). Obscene Elegy | Scene30 | Adrift. walk · listen · create. https://walklistencreate.org/walkingpiece/obscene-elegy-scene30-adrift/

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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