(credit)
‘Who was Wentworth?’ A walk from Katoomba to Woodford, (23 June 2017)
“I named this walk ‘Who was Wentworth?’ because of a conversation I had with my walking companion at the bust of William Charles Wentworth that highlighted the complexity of history, post-colonialism and how personal perspective effects our understanding of the past.” (credit)
“C.L.U.E. (color location ultimate experience) is a collaborative video, installation and performance work by artists A.L. Steiner + robbinschilds, with AJ Blandford and Seattle-based band Kinski. The performance and installation-based works have been presented in exhibition and performance venues internationally. The video works range from a single-channel piece (C.L.U.E., Part I), to multichannel pieces, up to 13-channels. ” (credit)
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“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:
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]
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.
2013 / video series / 1:53 min
A series of videos that attempt to objectively measure the furthest distance I can be from my son in a variety of environments; a city park, a back alley and Shursave supermarket.
Made during An Artist Residency in Motherhood. [credit]
A smellwalking guide. The smellscape is the smell equivalent of a visual landscape.
This activity crafted by Kate McLean identifies 3 categories of smells:
And identifies 3 modes of smelling:
The activity walks participants through various descriptive reflective writing prompts. It provides a helpful chart for organizing observations and collecting data. It provides options for solo, pair, and group outings. Available via McLean’s website.
A collection of soundwalks made with Filipina domestic and care workers employed “behind closed doors” in the Lebanon and the UK. Check out the soundwalks.
“Heath Bunting emerged from the 1980s art scene committed to building open, democratic communications systems and social contexts. Throughout his career, he has explored multiple media including graffiti and performance art and has staged numerous interventionist projects, as well as being a pioneer in the field of Internet Art. Bunting began collaborating with artist Kyle Brandon in 2001.” [credit]
These artists devised a circular tour (see map), and by night stealthily cut some fences as part of their Borderxing project. BorderXing serves as a pratical guide to crossing major international borders, legally or illegally. It was a type of physical hacking of space, cutting anything that impeded their walk – D’Fence Cuts. Below is an excerpt from their tour de fence catalog:
“tour de fence is the answer to your real needs. while the internet promised to level out all barriers, tour de fence enables you to surmount the fences out there that people erect to obstruct your way every day. from wire netting to ru stic fence, from steel door to close security system, tour de fence offers you the necessary know-how for unhampered movement. tour de fence is the direct way.
learn offroad mobility within high security architecture. cross over stretches of land in the right direction. penetrate the underground area of your city. tour de fence puts an end to the relocation of your movements into virtual space. use the tour de fence! become a tour de fence amateur team. pass this handbook on to others. propagate tour de fence.
by doing so you will become part of the international tour de fence community. as a reader, a free-climber or by sending one of the 24 tour de fence postcard in this book.
participate now! tour de fence’s vision is to do what we want.
…
tour de fence acknowledges fence as metaphor for private property. fence as a supposedly temporary, often mobile barrier performing functions of inclusion and exclusion, entrapment and guided freedom, decoration, safety, user boun dary, protection from hazard, flow control, visual screening and user separation.
fence is a permeable filter system defining permitted use and users. light, wind, insects, water, plants and sound pass unhindered while high order life forms such as·humans, fish, cattle and cars are engaged:
development of fence.
up to now the vertical has generally been private while the horizontal public. increasingly, vertical fences are being rotated to the horizontal and enlarged over large areas of land, as all use and users are embraced in total control.
tour de fence recognises the transformation of framed freedom into restricted open-range roaming; the re-alignment of unknown possibilities into known re peatables. users are permitted to skate across flattened surface of fence, but not to pass through – the fence is everywhere.” (credit)
