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1955

Please, walk on here (Kono-ue wo Aruite Kudasai)

Shozo Shimamoto

Shozo Shimamoto

(Japan) 
Copyright: Shozo Shimamoto
shozo2.jpg
Documentation | Experimental Outdoor Exhibition of Modern Art to Challenge the Midsummer Sun, 1955
Ashiya City, Hyogo, Japan

Sub-collection

Embodiment or Mind Body Connection

Sub-collection · 28 items

installation

Collection · 42 items

perception

Collection · 20 items
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sculpture

Sub-collection · 44 items

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installation

Collection · 42 items

perception

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sculpture

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In 1955, Shimamoto’s Please Walk on Here used stable and unstable boards to make participants physically experience risk and instability. Recreated for the 1993 Venice Biennale, it highlighted bodily engagement and precarious perception.

In July 1955 Shimamoto created his work Please Walk on Here as a part of the “Experimental Outdoor Exhibition of Modern Art to Challenge the Midsummer Sun” in Ashiya City. The work consisted of two narrow sets of wooden boards arranged in a straight path. One set was stable to walk on while the other was unstable, akin to a broken rope bridge. (…) Please Walk on Here was reproduced and exhibited on the occasion of the 1993 Venice Biennale. Participants were asked to walk on the structure and sense the structure’s instability or imminent collapse as they are walking.

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According to the Wikipedia website.

APA style reference

Shimamoto, S. (1955). Please, walk on here (Kono-ue wo Aruite Kudasai). walk · listen · create. https://walklistencreate.org/walkingpiece/please-walk-on-here-kono-ue-wo-aruite-kudasai/
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.

Added by Asli Ozgen-Tuncer
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