Search
My feed
2013

Pasajes IV

FIlm Still
Patagonia Argentina, Comodoro Rivadavia, Chubut Province, Argentina

Landscape

Collection · 351 items

place

Collection · 195 items
Sub-collection

solo walk

Sub-collection · 21 items
Sub-collection

video art

Sub-collection · 30 items

Related

Walking piece

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.

Roberley Bell
Walking piece

Touch

In Touch, Janine Antoni walks a tightrope on the beach of her childhood home, creating the illusion of walking on water. The work explores balance, perfection, and connection with viewers, inviting reflection on hope, the horizon, and human striving.

Janine Antoni
Walking piece

High Wire

High Wire by Catherine Yass explores architecture and urban utopias through a four-screen video and lightboxes, set at Glasgow’s Red Road towers. The work reflects social, political, and human tensions, blending dreamlike performance with the stark urban landscape.

Catherine Yass
walkingevent

Field Walking Exhibition

An exhibition of fieldwalking finds from Abbey Home Farm and artwork inspired by the landscape.

Ruth Broadbent

Landscape

Collection · 351 items

place

Collection · 195 items
Sub-collection

solo walk

Sub-collection · 21 items
Sub-collection

video art

Sub-collection · 30 items

Related

Walking piece

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.

Roberley Bell
Walking piece

Touch

In Touch, Janine Antoni walks a tightrope on the beach of her childhood home, creating the illusion of walking on water. The work explores balance, perfection, and connection with viewers, inviting reflection on hope, the horizon, and human striving.

Janine Antoni
Walking piece

High Wire

High Wire by Catherine Yass explores architecture and urban utopias through a four-screen video and lightboxes, set at Glasgow’s Red Road towers. The work reflects social, political, and human tensions, blending dreamlike performance with the stark urban landscape.

Catherine Yass
walkingevent

Field Walking Exhibition

An exhibition of fieldwalking finds from Abbey Home Farm and artwork inspired by the landscape.

Ruth Broadbent
Walking piece
Pasajes IV continues Díaz Morales’ video series, linking disconnected spaces through a guiding character. Set in Patagonia, the work unites varied landscapes like puzzle pieces, exploring geography, movement, and the region’s present.

In Pasajes IV the idea follows the same narrative, concept and structure as of former videos from the series. In the so far three Pasajes video works a similar formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which would be naturally disconnected from each other. This is the geography of a story expressed in an alteration to the normal, which so far aroused from a montage of urban spaces.

In this proposed formulation of Pasajes IV the video explores the landscape of Patagonia.Crisscrossing this territory in the search of the differences on the landscape, a character as a guide, unites different territories disconnected in its geography, as essential pieces of a puzzle to understand this region’s present.

_
Information from Sebastián Díaz Morales’ website.

Credits

- Collaboration: ruangrupa and the 15th Jakarta Biennale
- Cast: Maya Watanabe
- Produced with the financial support of: Amsterdams Fonds voor de Kunst and the Stedelijk Museum Amsterdam
- Installation view: Venice Biennale, VIVA ARTE VIVA, 2017

APA style reference

Díaz Morales, S. (2013). Pasajes IV. walk · listen · create. https://walklistencreate.org/walkingpiece/pasajes-iv/
Submitted by: Dani Spadotto

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.

Problem?

Encountered a problem? Report it to let us know.

  • Include the page on which you encountered the problem.
  • Describe what happened.
  • Describe what you expected to happen.
Follow us