“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)
“Sebastián Díaz Morales (1975-), Pasajes IV, Digital video / HD format / 22’40 min on 5:30 hs loop / 2013, 32’’ monitor; Character: Maya Watanabe
This idea follows the same narrative, concept and structure as of former Pasajes video series.
In the so far three Pasajes video works a similar formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which would be naturally disconnected from each other. This is the geography of a story expressed in an alteration to the normal, which so far aroused from a montage of urban spaces.
In this proposed formulation of Pasajes the video explores the landscape of Patagonia.
Crisscrossing this territory in the search of the differences on the landscape, a character as a guide, unites different territories disconnected in its geography, as essential pieces of a puzzle to understand this region’s present.” (credit)
Lygia Pape (1927-2004, Brazil)
“was part of the generation of artists who founded the Neo–concrete movement in Brazil, an experimental moment of constructivism and geometric abstract art, which manifested in South America in the late 1950’s. Neoconcretist artists like Pape sought to explore ideas of colour and form in relation to the sensorial cartography of the individual and the collective.
The work Divisor was originally performed on the streets of Rio de Janeiro in 1968. It is composed of an immense white fabric, which can be seen as a large scale white monochrome and is activated by a participative audience. The only visible part of each participant is their head, piercing through the fabric, whilst their hidden bodies jointly move along public space. The amorphous mutant forms created throughout the piece reflect the subjectivity of the participants who struggle between individualism and solidarity with the collective experience.” (credit)
“Walking connects our body to time and space whilst giving us time to survey place. Walking moves us surely, from one place to another. There is no guarantee, however, that the room we walk out of is any different to the one we walk into.” [from catalog, From Here to There: Australian Art and Walking]
“For “Mile Long Drawing” (1968), the artist chalked two parallel lines 12 feet apart for the length of a mile in the Mojave Desert in California. This was one of his first land art pieces which saw him transport his minimalist ideas from the gallery to the outdoors. Obviously, the markings didn’t last long as they were drawn with chalk, and so the temporary nature of the work draws attention to the passing of time and the idea is that change is constant.” [credit]
“A large, simple etching on the earth, made with four shallow cuts from the six foot blade of bulldozer, two one mile long, two a half mile long, forming a square with half mile lines extending from it. Made in 1969 by the artist Walter de Maria, in a remote location north of Las Vegas, the piece was not maintained, and is only faintly visible today, to some.” [credit]
“The question is not whether you can visit Walter De Maria’s Leaving Las Vegas; the question is, does it still exist?
Already in 1972 when discussing the land art project with Paul Cummings, Walter de Maria seemed to emphasize the difficulty of actually experiencing Las Vegas Piece as part of the actual experience of Las Vegas Piece. He’d graded a mile-long square onto a barren desert valley north of the city, and you’d have little chance of even finding it, much less seeing it, much less seeing it all:
it takes you about 2 or 3 hours to drive out to the valley and there is nothing in this valley except a cattle corral somewhere in the back of the valley. Then it takes you 20 minutes to walk off the road to get to the sculpture, so some people have missed it, have lost it. Then, when you hit this sculpture which is a mile long line cut with a bulldozer, at that point you have a choice of walking either east or west. If you walk east you hit a dead end; if you walk west you hit another road, at another point, you hit another line and you actually have a choice.
And on and on for several hours, until your choices and backtracking end in some combination of experiencing the entire sculpture on the ground; declaring victory or defeat partway through; and dying of exposure in the desert because you can’t find your car.” [credit]
Patriciat Johanson (1940-)
“…functions almost like a piece of the landscape—continually reflecting the changes going on around it. 1600-feet long and painted red, yellow, and blue… at times the entire spectrum was visible due to optical mixing along the borders, and the painted colors were constantly in flux due to changes in the color of natural light. At sunset, for example, when red light was falling on the sculpture the blue stripe turned to violet, the yellow stripe to orange. Because the space-projection literally went beyond the field of vision, movement and aerial views also became particularly important.” – © Patricia Johanson, “A Selected Retrospective, 1969-1973”, Bennington College, Vermont, 1973 [credit]
“Inspired by the enormous canvases of the Abstract Expressionists, Johanson created huge sculptures such as Stephen Long (1968) which went beyond the field of vision and interacted with the environment. ” [credit]
“The film combines men and women almost equally, capturing their exposed buttocks in a tight frame that results in quadrants of flesh, hence the “No. 4″ of the title. Since the telltale part of the human anatomy is facing away from the camera, the viewer is left to parse out identity based on subtle signs of difference, including hair, fat, and shape. Motion comes into play because the subjects are shot while walking, a fact that can be guessed by carefully watching the film and that is proved in a production still, which illustrates the simple rotating contraption on which they moved in place.”
Credit: Waxman, Lori. Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus. Sternberg Press, 2017. Page 261.
In the 1966 edition of Art Forum, Tony Smith gave an interview about his experience with a highway under construction.
He presented the idea of exploring the path as an object and experience in the article.
This is considered a pivotal moment transitioning from minimalism to land art.
La Monte Young‘s Composition 1960 #10, simply states, “Draw a straight line and follow it.” Young (1935-) was a well-known member of Fluxus.
Credit: Waxman, Lori. Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus. Sternberg Press, 2017. Page 206.
—“During the first Fluxus concert, held in Wiesbaden, Germany, in 1962, Paik performed La Monte Young’s text-based score Composition 1960 #10 (to Bob Morris), which reads, “Draw a straight line and follow it.” Paik dipped his head into a bowl of ink and proceeded to produce a line with his hands, head, and necktie as he moved down the length of a large sheet of paper laid on the floor. This performance—which gained notoriety for Paik’s rather flamboyant interpretation and execution—became known as Zen for Head.” [credit]