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SWS25 2024

Tulip art walk

tulips
Het Ruim, Dronten, Netherlands
70 minutes
dutch

aesthetics

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guided tour

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sculpture

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aesthetics

Collection · 8 items

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Collection · 21 items
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sculpture

Sub-collection · 44 items

Turkey

Collection · 10 items

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Artists Noel Meek and Elliot Vaughan commissioned new walking performance scores by Aotearoa artists John Vea (Tonga), Louie Zalk-Neale (Ngāi te Rangi), Rob Thorne (Ngāti Tumutumu), Sonya Lacey, and Noel Meek. With performances every day of The Performance Arcade in Wellington, New Zealand in February 2024, Meek and Vaughan explored a rich and challenging artistic ecology showing walking’s potential as an aesthetic, social, and political action.

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A creative review of guided tours worldwide and thinkpad for art and tour projects. Review requests welcomed.

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A humourfull guided tour through the city centre of Dutch town Dronten, in a provence famous for it's tulips. The tour is an artwork by itself and uses a temporary tulip-art exhibition tell historical, cultural and botanical stories, with music.

In april/may 2024 the dutch city Dronten organised an art walk with about 40 artists exhibiting sculpture, paintings and photografic art around the theme of Tulips. The cultural, historical, botanical and aestetic connotations of tulips was inspiration for the artists. Sound-artist Remco de Kluizenaar devised a guided tour in which he gave the artworks an extra dimension by composing music inspired on the looks and making process of several artworks. On the way from artwork to artwork he added storylines, like the botanical story of Tulips not being a Dutch flower, but coming through Vienna traders from Turkey, and in Turkey it was allready an import from the cold windy Kazachstan and Mongolian altitude planes. Remco plays with thoughts like this: Dronte, being in dutch province Flevoland, a cold windy plane as well, is a good place for strong natural tulips because of their origin. And he makes the travel from Mongolia to Netherlands audible by writing fragments of Mongolian, Turkish, and dutch music. The song “Een bosje Flevoland” (a bouquet of Flevoland) https://soundcloud.com/search?q=tulpen%20Remco%20de%20kluizenaar%20bosje%20flevoland is arranged to a baroque version, a dutch 60’s singersong version, and several others, to be the music main theme of the route (inspired on the continuous reuse of the soundtrack of the movie Brazil by Terry Gilliam). In a long straight line of a roofed shopping mall, he makes an audiopiece with circles overlapping, crossfading a soundscape tuned to the frequency of the earth, telling the audience a one end of the mall they are in the earth, at the other end they are amongst pollinators, hovering over the flowers. Inside the mall, links between the artworks and plant parts of the tulip are made. In this way the route, besides being a guided tour telling something about the artworks, is an artwork by itself.

Credits

Tulpenroute Flevoland is the organiser/funder of this guided tour, composed by Remco de Kluizenaar

APA style reference

remcodekluizenaar (2024). Tulip art walk. walk · listen · create. https://walklistencreate.org/walkingpiece/tulip-art-walk/

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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