Related
Visual March to Prespes: walking with concepts and images
Our interactive, one-day seminar on The Visual March to Prespes: Walking with concepts and images will be held on Friday the 9th of January 2026 from 18:00 to 21:00 in the Contemporary Greek Art Institute (ISET) and streamed online. The Visual March to Prespes is a process that is taking place in the Prespes area
The Blue Parade (what the body knows)
The Blue Parade is a participatory walking artwork created by Stefaan van Biesen and Annemie Mestdagh for the “Walking Practices/Walking Art/Walking Bodies” meeting in Prespes, Greece. The piece consists of a portable, ultramarine-blue textile structure carried collectively through the landscape as a “nomadic library.” Participants walk together, collect small objects from the environment, and place them in attached PET bottles, creating a mobile archive of local memory and identity. The act of carrying the canvas fosters awareness, cooperation, and a temporary community, turning the walk into a sensory, reflective ritual that highlights embodied knowledge, shared experience, and themes of journey and displacement.
Related
Visual March to Prespes: walking with concepts and images
Our interactive, one-day seminar on The Visual March to Prespes: Walking with concepts and images will be held on Friday the 9th of January 2026 from 18:00 to 21:00 in the Contemporary Greek Art Institute (ISET) and streamed online. The Visual March to Prespes is a process that is taking place in the Prespes area
The Blue Parade (what the body knows)
The Blue Parade is a participatory walking artwork created by Stefaan van Biesen and Annemie Mestdagh for the “Walking Practices/Walking Art/Walking Bodies” meeting in Prespes, Greece. The piece consists of a portable, ultramarine-blue textile structure carried collectively through the landscape as a “nomadic library.” Participants walk together, collect small objects from the environment, and place them in attached PET bottles, creating a mobile archive of local memory and identity. The act of carrying the canvas fosters awareness, cooperation, and a temporary community, turning the walk into a sensory, reflective ritual that highlights embodied knowledge, shared experience, and themes of journey and displacement.
In Outdoor School: Contemporary Environmental Art, edited by Amish Morrell and Diane Borsato, Aislinn Thomas reflects on the origins and evolution of her participatory walking projects:
“Slow Walkers of Whycocomagh and Fast Walkers of Whycocomagh came about to address what seems like an age-old problem: how to spend time walking with other people who have an ideal pace different from your own. Negotiating precisely what “slow” and “fast” looked like on any given day was an interesting part of the experience, as was noticing the different relationships to each other and the landscape facilitated by the different speeds.
This piece was originally part of a larger project, the Whycocomagh Skillshare, which was conceived of in response to living in a rural context, in an intentional community that centres people labelled with intellectual disabilities. The skillshare took form as an ongoing series of free workshops, presentations and activities and was an attempt to actively seek out connection, engagement and exchange while challenging normative ideas of expertise and value. Since then, the slow walking groups have taken place in a mall in Mississauga, along rivers and downtown streets in Cambridge and on a mountain trail in Banff.”
_
Information sourced from the Ellen Mueller website.

You must be logged in to post a comment.