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.
Circular Walk inside Arctic Circle, Around Inuvik, N.W.T.
N.E. Thing Co.’s Arctic walk in Inuvik documented steps, distance, and circular movement, while the Baxters transformed maps with instructions and drawings, turning abstract space into lived, dynamic landscapes that challenged rationalized grids and static representations.
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.
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.
Circular Walk inside Arctic Circle, Around Inuvik, N.W.T.
N.E. Thing Co.’s Arctic walk in Inuvik documented steps, distance, and circular movement, while the Baxters transformed maps with instructions and drawings, turning abstract space into lived, dynamic landscapes that challenged rationalized grids and static representations.
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.
According to Sarah Rodigari on her website:
Strategies for Leaving and Arriving Home is a “six-week performative walk in which I relocated 880 kilometres from Melbourne to Sydney in the winter of 2011. On my back I carried a tent, a sleeping bag and a four-day supply of food. As no ‘official’ walking route exists between these two cities, I mapped out my own path, choosing to follow the train line as best I could. When this was not possible, I followed the Hume Highway. I walked approximately twenty kilometres per day. I had no support vehicle; instead, I invited people to be my support by walking with me or joining me via the project blog.
In addition to documentation presented through essays, maps and the blog, I have included images of people who participated in the project by either walking, offering accommodation, food, a lift, or passing conversation and local knowledge. The interpersonal affective relations experienced in this exchange expose a vulnerability found within the embodied image of this walk: a woman walking alone along a highway. In turn, this mediation changed the process of the walk and thus shaped the nature of the project.”
Credits
Presented: Performance Space Sydney, Monash University Museum of Art, Melbourne, and Artspace, Sydney as part of Art as Verb.
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