Category Archives: Discussion or Talking

Allison Smith, The Muster (2008)

“The Muster is a one-day, open-air celebration centering on the question “What are you fighting for?” posed by artist and self-appointed Mustering Officer Allison Smith (b.1971, Manassas, VA). This public art event takes place on Governors Island, the former national military post located in New York Harbor. Once there, visitors can tour an encampment of more than 50 campsites and art installations, created by an army of “enlisted troops” selected by Smith and the Public Art Fund. The afternoon includes an array of activities—mock battles, American Folk portrait painting, magic shows, quilting bees, soapbox speeches, and more—culminating with a formal “Declaration of Causes” on a central stage.

As a military term, muster refers to a gathering of troops for the purposes of inspection, critique, exercise, and display. The Muster adopts the language and aesthetic of a Civil War reenactment. Like Civil War reenactors, participants in The Muster engage in the articulation of identities through performance and expand on the reenactor’s belief that events lost to history can gain meaning and contemporary relevance when performed live in an open, participatory manner. However, The Muster does not involve enacting a specific war from the past; instead, Smith uses the format to create an occasion and a forum for individual expression of diverse causes.

Beyond its military roots, The Muster also bears a resemblance to a country fair or an early 20th-century carnival. Blending art, craft, culture, history and social activism, the event embodies Smith’s interest in community and freedom of expression. The causes of the participants vary widely, from the political to the whimsical, addressing art history, technology, gender, democracy, and sociology.

For more information visit www.themuster.com.” [credit]

Saleh Khannah, In Between Camps (2012)

A more recent walking artwork highlighting the intersection of walking and race is In Between Camps (2012), which consisted of a group of six researchers and artists, Ismael Al-bis, Fabio Franz, Matteo Guidi, Thayer Hastings, Ibrahim Jawabreh, Saleh Khannah, Sara Pelligrini, Giuliana Racco, and Diego Segatto, walking across the West Bank from the springs of al-Arroub to Solomon’s Pools (three massive stone reservoirs) south of Bethlehem in search of an ancient Roman waterway, the Arrub Aqueduct. The project originated from the Campus in Camps program developed by Al-Quds University, an experimental education program in the Palestinian refugee camp of al-Dheisheh. The purpose of the project was to both reactivate the water system’s source, and imagine a time-frame before the contemporary apartheid-reality of walls, colonial land parceling, and occupation of Palestine. While they were hiking, the group was stopped by Israeli soldiers who were suspicious of the Palestinian participants due to their skin tone and dress. The international participants intervened and explained the trip, their search of the aqueduct, and showed them the map, engaging in a type of information overload tactic, not unlike the tactics Codogan described for minimizing the perception of criminality. After the walk, the group created a booklet (Booklet ) reflecting on the history of the site, their experience, and how the various layers of race-based rule and exclusion are projected on the land.

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Hastings, Thayer. “Tracing a Line Through a Fractured Palestine, from al-Arroub to Bethlehem,” Walking Art / Walking Aesthetics. Accessed May 16, 2022: https://walkingart.interartive.org/2018/12/thayer-palestine

Alan Michelson, Earth’s Eye (1990)

Alan Michelson (1953-, Mohawk) created a type of sculptural reenactment when he installed Earth’s Eye (1990) in lower Manhattan’s Collect Pond Park, outlining the now absent pond, a freshwater source that sustained Manhattan residents until tanneries polluted it and it had to be filled in during 1803. Forty cast concrete markers (22”x14”x6” each) referenced the natural and social history of the pond with low-relief imagery of plants and animals, and were arranged in the outline of the pond. Passersby walked around and within the installation, “bringing previous states of the locale into the here and now.” (Everett, Deborah. “Alan Michelson,” Sculpture, May 2007, Vol. 26 No. 4. Page 31.)

Rocca Gutteridge, UK Border Walk (2011)

community discussion
“A walk along the Scottish/English border to highlight restrictive visa policies for overseas artists, Artist Rocca Gutteridge and Claudia Zeiske undertook a walk along the Scottish/English border in reaction to the introduction of the Tier 5 visa policy for foreign artists on 5-7 August 2011.

UK Border Walk was a 77km walk along the English/Scottish border and included an Artachat discussion in the Romany town of Kirk Yetholm, the halfway point of the walk, about the detrimental effects of the new visa regulations for overseas artists. Both walk and talk highlighted and discussed the effects the Points Based System has for arts and cultural activities across our communities in the UK.

The UK Border Talk took place on Saturday 6th August in Kirk Yetholm, a small town along the border of Scotland and England. This was an open debate on the consequences of the PBS to UK cultural life. Speakers included visual artist Zineb Sedira, photographer Baudouin Mouanda, novelist Kamila Shamsie, artist/cultural commentator Nicholas Trench and Venu Dhupa, Director of Creative Development/Creative Scotland.

People had the option to join for:

  • the whole walk (ca 37 km on 5/6 August and 40km on 7 August); very strenuous and full equipment required.
  • all Sunday (ca 40km) very strenuous and full equipment required.
  • 5km and back on the Sunday morning, returning to Kirk Yetholm ca 12pm. The UK Border Walk continued towards Hungry Law the next day; joined by many for the 5km for the 5 Tier policy walk despite appalling weather conditions.

What is PBS?

In autumn 2008 the UK introduced a new points based system (PBS) for managing migration to the UK. The regulations have led to a restriction of non-European artists’ ability to come to the UK at the invitation of arts curators, promoters and artists. UK hosts are now required to be licensed sponsors if they wish to invite visiting artists. This has regulated the relationship between international artists and UK hosts from one of convivial artistic exchange, collaboration and cultural production to a contract which is excessively bureaucratic and treats international guest artists with suspicion and control. PBS has led to the cancellation of artists’ residencies, exhibitions, productions and performances across the UK. Many artists are refused visas while others are deported from UK airports because they were not sponsored.

For a full dossier of testimonials, petition to UK Government and media coverage visit the Manifesto Club’s website.

UK Border Walk is a partnership between: Deveron Projects, Artachat, Manifesto Club and ARTSADMIN. In collaboration with GASWORKS, Thami Mynyele Foundation and Edinburgh Arts Festival.” [credit]

Paige Tighe, Walk with ME Project (2012-14)

From Tieghe’s press release:

A Desire for Connection: “I began the project in LA out of a sense of frustration about the terms of everyday touch in America,” says Tighe. “I was having a massage, and as the massage therapist began working on my hand, all I wanted to do was hold her hand. Not out of a romantic impulse, but from a simple desire for connection.”

“What does it mean to live in a culture where people hug hello only rarely, almost never kiss each other on the cheek in greeting, and hardly ever take another’s hands unless they’re sleeping together? And what would it mean and feel like to hold hands in public with people who’ve volunteered to experience that connection? I decided I was going to hold hands and walk with as many people as I could.”

As they walked with Paige, her partners spoke of their dreams and aspirations, worries and plans while holding hands.

Tieghe also has an artist book documenting one iteration of the project.

Hamilton Perambulatory Unit, Mall Walk (2014)

mall walk collage

[credit]

“The Hamilton Perambulatory Unit is a group of artists, writers and educators, co-founded in 2014 by Donna Akrey, Taien Ng-Chan and Sarah E. Truman. The HPU orchestrates participatory events to engage with historical and current ideas around perambulation, and to explore walking in conjunction with artistic practices and research-creation. Our methodologies have included stratigraphic cartography, locative media experimentation, sensory synesthesia poetry-writing, and found material sculpture-making. HPU has given walks in Montreal, Toronto, Windsor, Buffalo NY, Sydney Australia, London England, Galway Ireland, Memphis TN, Tokyo Japan, the online sphere of Zoom, and our home base of Hamilton Ontario.“

Aristotle, The Peripatetic School (335 BCE)

“While Alexander [the Great] was conquering Asia, Aristotle, now 50 years old, was in Athens. Just outside the city boundary, he established his own school in a gymnasium known as the Lyceum. He built a substantial library and gathered around him a group of brilliant research students, called “peripatetics” from the name of the cloister (peripatos) in which they walked and held their discussions. The Lyceum was not a private club like the Academy; many of the lectures there were open to the general public and given free of charge.” [credit]

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“The Peripatetic school was a school of philosophy in Ancient Greece. Its teachings derived from its founder, Aristotle (384–322 BCE), and peripatetic is an adjective ascribed to his followers.

The school dates from around 335 BC when Aristotle began teaching in the Lyceum. It was an informal institution whose members conducted philosophical and scientific inquiries. After the middle of the 3rd century BC, the school fell into a decline, and it was not until the Roman era that there was a revival. Later members of the school concentrated on preserving and commenting on Aristotle’s works rather than extending them; it died out in the 3rd century.

The study of Aristotle’s works by scholars who were called Peripatetics continued through Late Antiquity, the Middle Ages, and the Renaissance. After the fall of the Western Roman Empire, the works of the Peripatetic school were lost to the Latin West, but they were preserved in Byzantium and also incorporated into early Islamic philosophy. Western Europe recovered Aristotelianism from Byzantium and from Islamic sources in the Middle Ages.

The term peripatetic is a transliteration of the ancient Greek word περιπατητικός (peripatētikós), which means “of walking” or “given to walking about”.[1] The Peripatetic school, founded by Aristotle,[2] was actually known simply as the Peripatos.[3] Aristotle’s school came to be so named because of the peripatoi (“walkways”, some covered or with colonnades) of the Lyceum where the members met.[4] The legend that the name came from Aristotle’s alleged habit of walking while lecturing may have started with Hermippus of Smyrna.[5]

Unlike Plato (428/7–348/7 BC), Aristotle (384–322 BC)[2] was not a citizen of Athens and so could not own property; he and his colleagues therefore used the grounds of the Lyceum as a gathering place, just as it had been used by earlier philosophers such as Socrates.[6] Aristotle and his colleagues first began to use the Lyceum in this way about 335 BC,[7] after which Aristotle left Plato’s Academy and Athens, and then returned to Athens from his travels about a dozen years later.[8] Because of the school’s association with the gymnasium, the school also came to be referred to simply as the Lyceum.[6] Some modern scholars argue that the school did not become formally institutionalized until Theophrastus took it over, at which time there was private property associated with the school.[9]

Originally at least, the Peripatetic gatherings were probably conducted less formally than the term “school” suggests: there was likely no set curriculum or requirements for students or even fees for membership.[10] Aristotle did teach and lecture there, but there was also philosophical and scientific research done in partnership with other members of the school.[11] It seems likely that many of the writings that have come down to us in Aristotle’s name were based on lectures he gave at the school.[12]” [credit]

Philippe Guillaume, Every Foot of The Sidewalk: boulevard Saint-Laurent (2010-2012)

Every Foot Of The Sidewalk: boulevard Saint-Laurent
Map (2010-2012)
original mixed media, google map, photos, pencil, tape
42” x 276”
FOFA Gallery exhibition, Montreal (2013)

[credit]

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“Philippe Guillaume’s Every Foot of the Sidewalk: boulevard Saint-Laurent (2010-2012) currently exhibited at the FOFA Gallery is a compilation of photographic cityscapes of the desolate Boulevard Saint-Laurent. Upon entering the FOFA’s main gallery, the viewer is immediately immersed in the eerie void created by these rarely captured moments of what is commonly the busy and populated Boulevard Saint-Laurent. One of the works, Working map of Every Foot of the Sidewalk: boulevard Saint-Laurent (2010-2012) displays a linear arrangement of photographs in parallel with a Google map image of the boulevard. The map is numbered, indicating the specific locations in which the photographs were taken. This work invites the viewer to participate by locating him/herself along this frequently visited and familiar street. In depicting this Montreal landmark, the artist is attempting to offer a new or perhaps different perspective of the space and street by removing its principal component of people. Guillaume’s work encompasses the act, art and history of walking and photography in order to explore concepts of space, community and a lack there of.

Among the books and articles left for consultation in the center of the main gallery lies Rebecca Solnit’s Wanderlust: A History of Walking. Solnit seems to have played an influential role in the artist’s process and discussion of this work. The void captured in the photographs brings attention to a conversation common in Solnit’s work, regarding streets, people and shared spaces. Streets, such as boulevard Saint-Laurent, act as a space of congregation, a space for festivals, parades, revolutions and protests. They act as a place for voicing and displaying one’s citizenship, a shared and “unsegregated zone.”[1]Particularly in light of the student protests last year in Montreal, Guillaume’s city of no citizens explores an interesting juxtaposition between the possible usages of space that touches on many social, political and spatial discussions relevant today. — Review written by Caro Loutfi.

[1] Solnit, Rebecca. Wanderlust : A History of Walking. New York, N.Y., U.S.A: Penguin Books, 2001.”

[credit]

David Taylor, Working the Line (2007)

“Beginning in 2007, started photographing along the U.S.-Mexico border between El Paso/Juarez and San Diego/Tijuana. My project is organized around an effort to document all of the monuments that mark the international boundary west of the Rio Grande. The rigorous undertaking to reach all of the 276 obelisks, most of which were installed between the years 1891 and 1895, has inevitably led to encounters with migrants, smugglers, the Border Patrol, minutemen and residents of the borderlands.

During the period of my work the United States Border Patrol has doubled in size and the federal government has constructed over 600 miles of pedestrian fencing and vehicle barrier. With apparatus that range from simple tire drags (that erase foot prints allowing fresh evidence of crossing to be more readily identified) to seismic sensors (that detect the passage of people on foot or in a vehicle) the border is under constant surveillance. To date the Border Patrol has attained “operational control” in many areas, however people and drugs continue to cross. Much of that traffic occurs in the most remote, rugged areas of the southwest deserts.

My travels along the border have been done both alone and in the company of agents. In total, the resulting pictures are intended to offer a view into locations and situations that we generally do not access and portray a highly complex physical, social and political topography during a period of dramatic change.” [credit]

Lawrence Weiner, OUT OF SIGHT (2016)

“Lawrence Weiner: OUT OF SIGHT is a participatory artwork and experience that blends hopscotch and word play for a joyful connection of mind and body that speaks to all ages and walks of life.

Known for text-based works that recall visual poetry, literary aphorisms, or Zen koans, American conceptual artist Lawrence Weiner frequently transforms gallery walls into artistic messaging boards. In his ground-based mural OUT OF SIGHT, he creates a pathway to be viewed and navigated, both physically and intellectually. OUT OF SIGHT combines wit and whimsy in a game-like format, encouraging learning and self-actualization from the viewer through the use of graphical phrases embedded throughout the work. By being able to stand, walk, or jump from one position to the next, OUT OF SIGHT taps into the dynamic “gamification” of learning and self-discovery. The viewer navigates the creation as they see fit—interpreting the work while interacting with it.

“A person coming in with whatever situation they find it, young, old or indifferent, the minute they have any thoughts about themselves going FROM HERE TO THERE, will be able to stand still and realize they first have to imagine themselves doing it, that’s assuming a position.” – Lawrence Weiner

Like McEvoy Arts’ exhibition Next to You, OUT OF SIGHT reminds us of the connections we make within ourselves and with each other through the shared experience of performance and the arts.” [credit]