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Lee Deigaard, Vixen. Vector (2013-17)

 

““Vixen. Vector” is a photographic series and installation that follows a former street dog essentially exploring Cartesian geometry on the streets of New Orleans (as she defies Cartesian dualism). She conducts a visual conversation with me using her body (and secondarily, the lines of the leash) to underline and express fleeting alignments and discoveries within urban (but also natural) spaces. I take photographs, shot from the hip as it were, cued by her pauses and interactions. How she moves, and how I move relative to her reveal angles of discovery and an essential and consciously rendered geometry. ” (from email exchange, June 2011)

“Lee Deigaard, Vixen. Vector
An arrangement of photographs chronicling sympathetic alignments and other canine geometries.

Former street dog defies Cartesian dualism, illuminates Cartesian geometry on the streets of New Orleans.

In my work, exploring levers of empathy (particularly between species), capturing the incidental signifiers (gesture, transient expression) relies on a convergence of reflex and impulse, situation and timing. On daily walks, tiger dog moves through the big city, carrying nothing, wearing nothing; her body is her vehicle and her expression. Photographs from our outings reveal fleeting and yet deliberate synchronicities and alignments– of limb and leash, shadow and sidewalk crack– created by a dog finding her place and translating her role within it. Through companionate mirroring of animate and inanimate forms, she delineates subtle harmonies. Her everyday geometry, its ephemerality and its searching sequences, are both improvisations and statements. To see the city through her is to discover a cursive- of routes and scent trails, of scribbled street runes. It’s an experience of deep reading.

Rescued from the streets, she retains aspects of a wild creature, like a coyote or a vixen, and the decisions she makes about where to go– the ways she exercises her autonomy, posits her theories of whereabouts and motives, and hunts the evidence– carry added poignancy.

Lee Deigaard lives and works in New Orleans, Louisiana and in rural Georgia. Her studio practice engages wild animals and collaborates with animals who are friends and family. Her work explores animal protagonists and the emotional spaces and physical landscapes where humans and animals co-habitate.” (credit)

Modelab, Ghost Walker (2014-15)

“Like photography negatives, urban design comprises information on what is not visible and only can be inferred by its contours. In this manner, urban geography becomes a catalogue of defeats and absences that can be interpreted from what once existed.

Based on Mexico City maps from 1867 and 1892, superposed on a 2014 Google map of the Juarez and Cuauhtémoc neighbourhoods, this project seeks to create an appropriation of histories through an artistic and scholar exploration of a specific street that ceased to exist more than a century ago.

Following the techniques of the Situationist’s dérive and Andrei Monastyrsky’s work with the Collective Actions Group, Ghost Walker: An Impossible Walk Through Mexico City’s History is a longitudinal study of a specific urban space, witness of a myriad of processes and modifications throughout 150 years

Ghost Walker (2014-15) has been presented at Muca Roma in Mexico City (2016), and as part of the group exhibition “Walk With Us” at the Rochester Arts Center (2022).

Participants: Sandra Calvo, Ramiro Chaves, Erick Meyenberg, Raul Ortega Ayala, Sergio Miranda Pacheco, Manuel Rocha Iturbide, Modelab.

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Modelab is an artistic initiative aiming to promote interdisciplinary projects at the intersection of public space, history, and cartography.

Formed in 2014 by Claudia Arozqueta and Rodrigo Azaola, Modelab projects have taken place in streets, parks, billboards, beaches, museums, vacant retail stores, and other spaces in Australia, New Zealand, France, Mexico, Taiwan, and the Philippines.” (credit)

Daniel Crooks, On Perspective and Motion – Part II (2006)

On Perspective and Motion – Part II from Daniel Crooks on Vimeo.

video still of people walking in a warped reflection

“I Love walking, particularly as a flaneur getting Lost in the back streets of foreign cities. I also spend a Lot of time watching and filming people walking in cities. It might have something to do with my training as an animator analysing people’s ‘walk cycles’.

There is something about the speed of walking; that rate of movement with a particularly human scale – not too fast, not too slow – the Goldilocks point for objects moving through a frame. And walking is not only a Linear movement through space, it also contains the internal pendulum cycles of swinging arms and Legs, the sine wave bobbing of the head, the Last-second infinitesimal raise of the toes.

As a subject for exploring normally unseen temporal structures, walking is almost perfect. There is a fundamental familiarity to it that offers the viewer a thread or a bridge between the known experience of the everyday and the abstract objects of our imagination.” (credit)

Diane Borsato, Touching 1000 People (2001-2003)

”

Touching 1000 People

Performance intervention and photographs

2003

I read a study that suggested that when people are subtly touched, it can affect their behaviour and well being. For a month I went out of my way to delicately bump, rub past, and tap 1000 strangers in the city. I touched commuters, shoppers, cashiers and taxi cab drivers on the street, on the metro, in shops and in museums. The exercise was like a minimalist performance. I was exploring the smallest possible gesture, and how it could create an effect in public.

The action was performed for one month in various locations in Montreal in 2001, and repeated for ten days across the city of Vancouver in 2003.

EXHIBITION HISTORY

Vu, How To Draw Winter, Solo Exhibition, with catalogue essay by Amish Morrell, Winter 2006, Quebec City

Artcite, The Moon in my Mouth, Solo Exhibiton and Visiting Artist Talk at University of Windsor, Spring 2006, Windsor, Ontario

Truck Contemporary Art in Calgary, Sleeping with Cake, in ‘Mountain Standard Time: Festival of Performative Art’, Fall 2005, Calgary

Mois de la Photo, How to Eat light, Solo Exhibition curated by Martha Langford at ‘Occurrence’, Fall 2005, Montreal

CAFKA – Contemporary Art Forum Kitchener, Solo Exhibition as part of ‘Peace of Mind’, 2005, Kitchener, Ontario

Gallery TPW, Warm Things To Chew For The Dead, (Solo Exhibition), during Contact 2004: Toronto” (credit)

Diane Borsato, The China Town Foray (2008-10)

“The China Town Foray, Intervention and photographs, 2008 – 2010

I invited the Mycological Association of Toronto (an amateur mushroom hunting club) to go on a mycological foray in “Chinatown” or, the Chinese supermarkets and medicinal shops in Markham, Toronto. With field guides and magnifying glasses, we debated Latin species names and toured the suburban marketplace in the same manner that we would research and identify Ontario fungi in the forest or field.

Special thanks for the work and expertise of Alan Gan, and the participating members of the Mycological Society of Toronto.

The event took place in various locations in Markham, Toronto, in the summer of 2008. In 2010, the urban forage was repeated in New York City, with the collaboration of the New York Mycological Society. Special thanks to guest mycologists Paul Sadowski and Gary Lincoff.

EXHIBITION HISTORY

AGYU, Terrestrial / Celestial and Walking Studio, curated by Emelie Chhangur , Spring 2012, Toronto

Articule Gallery, Terrestrial/Celestial, Presented as part of Mois de la Photo, curated by Anne-Marie Ninacs, Fall 2011, Montreal, Canada

Umami Festival Performance, The New York Foray, Urban foraging events with the New York Mycological Society. Curated by Yael Raviv, Spring 2010, New York City

Mercer Union, The Chinatown Foray, Solo exhibition, main space, Fall 2009, Toronto” (credit)

Diane Borsato, All the Names for Everything (2017)

“ALL THE NAMES FOR EVERYTHING, Walk/Performance,  2017

ALL THE NAMES FOR EVERYTHING was a walk on Mount Nemo with diverse outdoor education leaders bringing various scientific and cultural perspectives on naming flora and fauna along the Bruce Trail in Ontario, Canada.

The popular nature educator Richard Aaron spoke of scientific botanical and common English naming, while Melanie Gray of wolf clan from Tyendinaga Mohawk Territory discussed spiritual and medicinal connections to plants in addition to some of their names in Mohawk, and Jon Johnson, a community-based Indigenous scholar discussed place names and the history and ongoing presence of Indigenous peoples in the Toronto region.

Together we considered the origins and meanings of botanical names, numerous common names, and names in different languages of many of the places, plants and animals encountered along our walk.

I had been thinking about the colonial histories that are conspicuously silent (or worse, the violence and erasure still being perpetuated) whenever I study nature, take workshops, read field guides, or lead students and others in the woods. With this project – I hoped to expand the terms of nature-education, by bringing together a diverse crowd of knowledgeable community members interested in plants, ecological relationships, and land.

We discussed names that give evocative descriptions, that tell of our many relationships to plants and other creatures, to languages and names that were absent and lost to Indigenous peoples, and to racist names – that speak to our often difficult relationships with each other.

ALL THE NAMES FOR EVERYTHING is part of an ongoing commitment to developing relationships with Indigenous elders, artists, researchers, and educators – and including Indigenous perspectives in my own work and teaching.

The piece was part of a larger project by Elle Flanders and Tamira Sawatsky of Public Studio called New Field: Tracing Decolonisation.

Photos here by Emily Moriarty, Amish Morrell, Richard Aaron and Diane Borsato. ” (credit)

Beverly Buchanan, Marsh Ruins (1981)

Beverly Buchanan (1940-2015)

“This text originally appeared in ART PAPERS Fall/Winter 2020, Monumental Interventions, as part of a special dossier highlighting seven artists who have fought—and continue the fight—to transform their public spaces by uncovering suppressed histories, resisting oppression, and telling formerly silenced truths. 

Beverly Buchanan’s practice referenced southern vernacular architecture to interrogate relationships between Black people, history, and the landscape. In 1981 Buchanan (1940–2015) placed a triangular formation of three sculptural mounds on the edge of the tidal marsh in Brunswick, GA. Titled Marsh Ruins, the large amorphous forms were made by layering concrete and tabby—a concrete made from lime, water, sand, oyster shells, and ash—and then staining the forms brown. This grouping is the most referenced work in the series of sculptural markers Buchanan placed in Georgia to memorialize sites of Black presence. Buchanan often explored the concept of ruination to uncover the transformative powers of distress and destruction. These markers symbolically bear witness to the 1803 mass suicide of enslaved Igbo people who collectively drowned themselves off the coast of nearby St. Simons Island. Although their exodus was forced by the traumatic capture and abuse of their bodies, their act of defiance made them free. The work remains visible to the public, though it is not clearly marked and blends in with its natural surroundings.

Tabby was used throughout the American South to construct shacks and quarters for enslaved people. This material functions as a protective shield for Marsh Ruins. Buchanan’s use of tabby, rather than such enduring materials as marble or steel, gestures to the material historically employed to construct Black people’s homes, which she revered. Vulnerable to nature and unstable marsh ground, these forms were intended to be lost to erosion. Buchanan welcomed nature to shift, fragment, and disintegrate her sculptures, knowing that, like the body, they would one day be completely obscured or forgotten. Succumbing to the earth, the materials live on in new forms. Marsh Ruins rejects the representational form of conventional monuments and memorials to speak poetically through the languages of materiality and ephemerality.” (credit)

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There is also a 96-page book on this artwork.

Omar Mismar, The Path of Love Series

“For a period of 30 days, I took a walk every day, navigating the city using Grindr, a geo-location gay mobile app that tells the users the vicinity of gay men around them. Each day I picked a man I desired, and tried to get as close as possible to him using the app. I kept a record of my routes and traced them into paths.” (credit)

Hiwa K, Pre-Image (Blind as the Mother Tongue) (2017)

Single channel HD video, 17:40 mins

“Work Description

Pre-Image (Blind as the Mother Tongue) re-traces a journey undertaken on foot by Hiwa when he fled Iraqi Kurdistan in the mid-1990s. This long and often dangerous journey — lasting five months and two days and passing through Iran, Turkey, Greece, France and Italy — was an “experience of space and time” and a “fracturing of spatial and cultural experiences.” Each point along the way, whether a city or town, was experienced fractally, and always from below — with no overview.

In this work, the artist uses an adapted balancing device, equipped with motorcycle mirrors, to re-create the disorienting experience of space and time experienced by so many making similar journeys. One mirror reflects what is ahead, another behind, while the others reflect the artist and his immediate surroundings. To walk forward he must balance and control the device, alluding to the effort needed to keep moving and recalibrate oneself to new contexts.

Artist Biography

Hiwa K (b. 1975) Lives and works between Sulaymaniyah, Iraqi Kurdistan, and Berlin, Germany.Working across video, performance and installation, Hiwa’s work draws from personal experiences, including family anecdotes, his path through arts education, and daily encounters and occurrences.

Hiwa K’s works have been included in group exhibitions including Documenta 14, Kassel (2017); 56th Venice Biennial curated by Okwui Enwezor (2015); Asian Art Biennial, Taipei (2019); 21st Contemporary Art Biennial Sesc Videobrasil, Sao Paulo (2019); Anren Biennale, Sichuan (2019); Yinchuan Biennale (2018); and MOMA Ps1, New York (2019).

Recent solo exhibitions include: Kunsthalle Mannheim (2019); S.M.A.K. Museum, Ghent (2018); KW Institute of Contemporary Art (2017) and KOW Gallery, Berlin (2016). His work has been awarded the 2019 Hector Preis and in 2016, both the Arnold Bode Prize and the Schering Stiftung Art Award.” (credit)

Bruce Nauman, Walk with Cantrapposto (1968)

man walking

Walk with Contrapposto (credit)

Bruce Nauman, Walk with Contrapposto, 1968, 60 minutes, black & white, sound, Smithsonian American Art Museum

“Bruce Nauman’s films and videotapes hold a prominent place in the history of media art. In Walk with Contrapposto, the camera’s perspective is fixed at the end of a narrowly constructed corridor. Nauman moves through the space, striking poses with each step. His manner and figurative gestures come to define the space through the body of the artist. ” (credit)