Category Archives: Place

Deriva Mussol, Night Walks (2013)

Deriva Mussol, Night Walks (2013)

“It was back in 2013, when ACVic, the local arts center of Vic, hos- ted the project Deriva Mussol (its literal translation would be “owl drift”), led by artists Jordi Lafon and Eva Marichalar with the collaboration of the Aula de Teatre (a theater group) of the University of Vic [Barcelona, Spain]. They wanted to collectively create a theatrical proposal that would take place in the streets of Vic. Besides this desire, the only thing they knew is that they wan- ted to open the process of creation to everyone, so that everyone who wanted could participate in it. In order to do so, they invited people to go deriving at night with them through the streets of Vic to wherever the walking would take them. Even though a feeling of awkwardness may awaken to some people when hearing or reading the word “derive” (I would not say it is a really “common” word), in fact, the instructions were so simple that they could be reduced to two key- words: night, walk. Nothing else. The invitation was communicated by ACVic. Everyone was invited. By doing this, they had set up a common ground for secret encounters to happen. At least once per week, different peoples, of different ages, coming from many backgrounds and with different interests walked together without any other expectation than simply this: walking together.

There was nothing that could go wrong. The possibility of doing something wrongly did not exist. Even the common civil laws and social rules of political correctness where almost forgotten thanks to the fact of walking by night guided by curiosity, spontaneity and a playful attitude. Streets were empty; no one was watching. They did 12 derives. Some people went just once and it was okay. Some people participated in all of them and it was also okay. In any case, as Marichalar wrote, a stable group of 10 people was progressively constituted (2013, p. 29). Each deriving session was complemented by another session, called “Parlem” (“let’s talk”) dedicated to talking about the experience.

Deriva Mussol, Night Walks (2013)

All the members of the group met around a table and shared whatever they wanted to with the others; photos, videos, drawings, maps, thoughts,whatever. After the 12 sessions they had an idea for a theatrical proposal that took finally place and that was presented to the public as a street art performance. From my point of view, the fact that this performance was useful to communicate and share the project with more people is something secondary, if we compare it to the importance that it had for the group of walkers and talkers as a self-representation. In other words, it was a representation of, precisely, themselves as a group; a kind of family.” [credit]

Rozalinda Borcila, Center for Getting Ugly – Kara Holland’s Walk to the Beach (2006)

“In a city built around the logic of automobility, a small group documents several attempts to walk to Tampa’s last remaining public beach. We rely on instructions from passers-by who struggle to conform their mental map of the city to the possibilities of walking.” [credit]

From the original invite: ”

Kara Holland invites participants on a walk from the Westshore Palms neighborhood to the beach located directly west, less than 1 mile away. This public beach is one of the last few remaining in the city of Tampa. We will try to get to the beach on foot, navigating terrain that, not unlike much of the city, is hostile to walking. The walk will explore the ways in which otherwise “benign” structures (a corporate park, a mall, the highway and so forth) are aggressive to bodies not trapped in cars and effectively colonize public space. Participants will pause to mark especially hostile boundaries, using materials found on site. We will share a picnic upon arriving at the beach, or wherever we can no longer travel on foot. Recording devices for documenting the walk are welcome and encouraged (cell phone, cell phone camera, digital camera, video camera, audio recorder, etc). This walk is a collaboration with The Center For Getting Ugly as part of the “Walk, Talk, Eat, Talk Some More” project.

Date: April 15, 4:30 pm
Meeting place: Kara’s apartment, 4601 Gray St. Tampa FL, 33609
Duration: 2 hours (??)” [credit]

“Center for Getting Ugly – dedicated to the research, practice and sustained experimentation with conflict as essential political activity. the Center seeks to develop individual and collective capabilities for the production of radical politics. must embrace conflict as an essential, productive aspect of collaboration. must be perpetually dissatisfied with, and suspicious of, existing aesthetic or semantic strategies.

…

The Center for Getting Ugly is dedicated to the research, practice and sustained experimentation of social conflict, with the goal of encephalizing collective organs and social technologies for the production of radical politics. In other words, the Center operates on the premise that, given sufficient practice, we can develop collective revolutionary organs. The Center is not a group, a project or a place, but an open infrastructure. Its various subdivisions target specific practices or arenas for the production of critical deviance, with collective activity as its main underlying principle.

The Center for Getting Ugly launches invitations, provocations. it facilitates collaboration between multiple practitioners. it imagines, invents and sometimes even deploys probing devices. currently, its subdivisions are:

Can’t we all just get along? Counter-Cartographies of Playing Nice – invited or self-appointed Special Fellows conduct research on dominant modes of subjectivation in various concrete situations. though not all maps take the form of two dimensional representations, the desire is to produce interpretive works which may be used to incite, illuminate or facilitate intervention.

Walking and not Walking – develops extended skill-sharing, experimental workshops specifically focused on walking practices – and, given the ways in which mobility is structured around consumption and other forms of subjectivation, on practices of not walking: standing, stopping, pausing, staying and occasionally lying down.

A Synchronized Swimming – Different collectives are invited to design an un-resolvable conflict equation based on their own, unique working methods. These equations are passed on to another collective, who develop interpretive extensions/models for the sustension of conflict. A Synchronized Swimming then dives into the Pool: an exhibition/symposium/forum for incorporating these models into action.”

SOURCES:

Archived “Common Places” blog and Flickr stream

Andrea Carlson, You Are on Potawatomi Land (2021)

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Andrea Carlson presented a site-specific large-scale (15’x266’) installation along the Chicago Riverwalk entitled, You Are on Potawatomi Land (2021). The sheer scale of the work required walking to take in the full text: “Bodéwadmikik ėthë yéyék – You are on Potawatomi land,” and it was situated on a recognized public walking space. The site of the work is near the former sandbar in the Chicago River that lends its name to the Sandbar Decision, a US Supreme Court case that “denied the Pokagon Band of Potawatomi ownership of the unceded land that was built into the lake by settlers.” In Carlson’s words, this work is “… meant to reaffirm Native people where they live and where they seem invisible, which is often the case in urban environments.”

Credits: Lee, JeeYeun. “Don’t Look to My Work for Reconciliation”: A Conversation with Andrea Carlson,” Monument Lab. Accessed February 13, 2022: https://monumentlab.com/bulletin/dont-look-to-my-work-for-reconciliation-a-conversation-with-andrea-carlson

Inua Ellams, The Midnight Run (2005-)

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The Midnight Run is a registered social enterprise. Like traditional businesses we aim to make a profit but what sets us apart is that we aim to – reinvest or donate those profits towards creating positive social change.

Inspiration.

The Midnight Run is a walking, night-time, arts-filled, cultural journey through a city and a typical Midnight ‘Runner’ has a healthy sense of adventure and seeks experiences beyond the mainstream. It is partially influenced by The Situationists – a political and artistic movement between 1957 & 1972 – started in France. Founders of the movement were tired of the commercialism of art and consumerism and wandered city streets in typical post-war bohemian fashion seeking REAL experiences.

Accordingly, The Midnight Run seeks to negate the frenzy and hysteria of mass media, pop culture, hype and reality T.V. for actual reality, for the simplicity and intimacy of walking and talking. Our idea is to reclaim the streets of a city, to dispel the idea of ‘danger after dark’ instead to ‘discover after dark’. It is to grow urban communities, situate meetings of strangers, for relationships to blossom, to inhabit the confines of glass, concrete, steel and structure as a child does a maze: with natural play and wonderment.

Why artists?

“During those early Midnight Runs, I’d run writing workshops and poetry exercise specific to locations we visited. After, I’d ask participants to share their writing and I noticed how it created new spaces for communication and conversation. Essentially, I stumbled across a simple way to deepen group dynamics and our appreciation and understanding of each other.”

“Over time I invited artists/activists of various disciplines to run workshops thereby widening the scope of this interaction. Artists/activists are often plugged into fascinating networks and know great spaces worth visiting for playful or aesthetic reasons. Searching for outdoors spaces to compliment their art forms made planning Midnight Run routes vastly more interesting… the artists work on several levels.” — Inua Ellams, Founder

But WHY JOIN A MIDNIGHT RUN?

50% of the world’s population live in urban environments. Despite growing population density we face issues of loneliness, depression and economic polarisation… because of global immigration and gentrification, many cities are rapidly losing their local, historical and communal identities in a land-grab for commercial space. These new paradigms favour younger, faster, richer members of societies, paradigms that are increasingly hostile to the youth and older members of societies.

The Midnight Run experience counters these issues by slowing urban life to talking, playing and creating within various urban spaces. Because the event is for one night only with strangers, participants are afforded anonymity and can attend without any danger of judgement or consequence. By inviting artists of diverse practices, we encourage participants to step out of comfort zones and exercise their creative muscle. By inviting local artists who inform the route, we ensure what is experienced on the night is specific and true to the locality, the inhabitants and their environment.

The ground-breaking idea behind the Midnight Run is a return to simplicity, to entertain without entertainment, to trust in community and conversation, to rediscover our essential creative selves.

INUA ELLAMS.

Born in Nigeria in 1984, Inua Ellams is an internationally touring poet, playwright, performer, graphic artist & designer. He has published three pamphlets of poetry including ‘Candy Coated Unicorns and Converse All Stars’ and ‘The Wire Headed-Heathen’. His first play ‘The 14th Tale’ was awarded a Fringe First at the Edinburgh International Theatre Festival and his third, ‘Black T-Shirt Collection’ ran at England’s National Theatre. In graphic art & design (online and in print) he tries to mix the old with the new, juxtaposing texture and pigment with flat shades of colour and vector images. He lives and works from London, where he founded The Midnight Run.

Inua hails from the Hausa tribe in Northern Nigeria, a people synonymous with a nomadic tradition. The Midnight Run came from this tradition, his search for a community to belong to, the transience and transformation of travel, and a belief in the bridge-building ability of arts and artistic interaction.

OUR BEGINNINGS.

The Midnight Run was found in 2005 by award winning poet and playwright Inua Ellams. In 2011 The Midnight Run embarked on a collaborative partnership with CCT-SeeCity, founded by Elena Mazzoni Wagner in Prato, Italy. This marked the beginning an expansion across Europe. To date Midnight Run events have commissioned in Manchester, London, Leeds, Milan, Firenze, Barcelona, Madrid & Auckland.

WHO WE WORK WITH.

Midnight Run events speak to themes of enhancing group communication, making different art forms accessible, supporting local artists and exploring cultural dynamics within urban environments. Events are typically commissioned by arts organisations, cultural festivals, community groups and corporate organisations. Organisations worked with include Southbank Centre, Contact Theatre, PUMA, Tate Modern, The Royal Society of Arts, Bush Theatre, Lomography, Create Festival + many more.

Amanda Heng, I Walk from the South to the North (2017)

This work saw Heng travelling alone on foot from Clifford Pier to the Causeway checkpoint in Woodlands. This solo walk continued Amanda’s interest in rituals, exchanges and their relationship with live performance in daily life.

“Heng has been a central figure in Singaporean performance art as well as feminist discourse in Singapore since the 1980s.

In 2017, Heng performed “I Walk From The South To The North” which constitutes a series of daily walks spanning the duration of two months (September – November). … From my perspective, this work is a comment on the breakneck speed at which Singapore develops. Bridges, skyscrapers and entire parks are built in the span of a few months. The urban landscape morphs and mutates unforgivingly. How do people hold on to memory and history?

It also reads to me as a reflection on technology and how we wield it in our contemporary lives to ‘make lives easier’. Singapore is a technologically advanced country with a highly comprehensive transport system. What is the point of walking anywhere anymore? Smartphones are ubiquitous, Google Maps is the most sensible mode of navigation. What is the point of talking to anyone, asking for directions anymore? Heng’s work brings focus back to the physical and social nature of the body and sheds light on the effects which technology has on that.

Could you tell us a bit more about your most recent walk from Clifford Pier to the Causeway which you took from September to November 2017?

It is titled “I Walk from the South to the North”. The participation is a little different from my previous walks. I deliberately do not get myself acquainted with the route so I start to ask around for directions so where I go depends entirely on who I chance upon and how forthcoming they are. I’d get these people to draw out maps or write out directions and these form part of the documentation for this project. Many people I approached were generous with their help and were surprised I wanted to walk so far. They kept insisting it was much faster to take the MRT nearby.” [credit]

Jennifer West, One Mile Parkour Film (2012)

Jennifer West, One Mile Parkour Film (September 13, 2012; 7am-11pm)

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“Location: Entire length of the High Line, from Gansevoort to West 30th Streets

Jennifer West is known for using unusual materials to alter her films, drawings, and collages. She has used coal-tar dye, eyeliner, whiskey, hot sauce, deodorant, and even skateboard wheels. For the High Line, West has staged a public performance by taping a one-mile-long 35mm filmstrip to the High Line pathway for one day during park hours. The thousands of visitors to the High Line that day are invited to leave their mark on the filmstrip with their shoes, heels, and hand prints to etch the film with the walkway’s many surfaces. Visitors are encouraged to wear stilettos, tennis shoes, combat boots, bare feet, or other shoes that to significantly alter the film. After the performance, the filmstrip will be treated with related materials and actions, a signature of West’s work.

The 59-minute filmstrip features images shot by West and her crew in June 2012 of New York locations typically not accessible to the general public. The film also features performances by two New York-based Parkour artists, Thomas Dolan and Vertical Jimenez. Best known for their ability to spontaneous run through urban environments and rooftops, their flips, jumps, rolls, and handstands were double-exposed over images shot around the High Line.

After the performance, the marked-up film will then be transferred to high definition digital format and shown on the High Line in October.

: Photo by Scott Lynch

: Photo by Maggie Romano

Splash Dance
9:00 – 10:00 AM
Diller – von Furstenberg Sundeck & Water Feature, on the High Line between West 14th and West 15th Streets
Elementary school students from Public School 3 in the West Village perform a playful dance to tunes by legendary pop star Michael Jackson. The same dance will be performed twice over the course of the hour.

Art Station
2:00 – 4:00 PM
14th Street Passage , on the High Line at West 14th Street
Stop by the semi-enclosed passageway on the High Line at West 14th Street to manipulate the celluloid film strip with various materials and tools.

Parkour Performance
9:00 –10:00 PM
On the High Line under The Standard, New York
Parkour dancers, called traceurs, will perform on the celluloid film strip, which contains images of the same traceurs performing in other locations at the High Line. Parkour is type of physical activity focused on effortlessly maneuvering around obstacles with speed and efficiency.

(1,2) Photo by Michael Seto; (3,5) Photo by Maggie Romano; (4,7) Photo by Scott Lynch; (6,8) Photo courtesy Friends of the High Line; (9) Photo by Liz Ligon; (10) Photo by Select Nights.

Artist bio

Jennifer West (b. California) lives and works in Los Angeles. Recent solo exhibitions include Marc Foxx, Los Angeles (2013); S1 Artspace, Sheffield, England (2012); Vilma Gold, London (2011); Contemporary Art Museum, Houston (2010); Western Bridge, Seattle (2010); Kunstverein Nuremberg, Nuremberg (2010); Transmission Gallery, Glasgow (2008), and White Columns, New York (2007). She was an Artist in Residence at the MIT List Visual Arts Center and has been commissioned for special projects at the Tate Modern, London and the Aspen Art Museum, Colorado. Her work has been included in group exhibitions at the Saatchi Collection Gallery, London (2012); Henry Moore Foundation, Leeds (2012); Remap, Athens (2011); White Columns, New York (2011); Schirn Kunsthalle Frankfurt, Germany (2010); and the Seattle Art Museum, Seattle (2010), among many others. West was shortlisted for the 2012 3rd Annual Nam June Paik Center Award in Korea.”

Pamela Z, Site Reading (2011)

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“Composer/performer Pamela Z will lead participants on a walk that creates musical scores from the graphic features (micro and macro) of downtown Manhattan. Participants will form a roving experimental sound and performance ensemble that will interpret and play the neighborhood’s building facades, sidewalk hardware, public art and street markings to make a contrapuntal, chance-based chorus.

This walk holds 12 people and is part of Urban Design Week 2011, organized by The Institute for Urban Design.

Click here to see photos from “Site Reading.””

“Pamela Z is a composer/performer and media artist who makes solo works combining a wide range of vocal techniques with electronic processing, samples, gesture activated MIDI controllers, and video. She has toured extensively throughout the US, Europe, and Japan. Her work has been presented at venues and exhibitions including Bang on a Can (NY), the Japan Interlink Festival, Other Minds (SF), the Venice Biennale, and the Dakar Biennale. She’s created installation works and has composed scores for dance, film, and new music chamber ensembles. Her numerous awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, The MAP Fund, the ASCAP Award, an Ars Electronica honorable mention, and the NEA/JUSFC Fellowship.Pamela’s website”

Okwui Okpokwasili, Market Thrum (2016)

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Okwui Okpokwasili led a 9-person walk that explored the making of an “embodied collective” in the charged landscape of the South Bronx. Facilitating a multi-sensory exchange with each other and the space, the group slowly walked through the Gold Coast Trading Company (an African market) and worked toward an expansive group practice of dynamic movement. No previous dance experience was required.

Click here to see photos from “Market Thrum.”

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” “It a people market!” a woman shouted as nine of us slowly followed Okwui Okpokwasili through Gold Coast Trading Company in the south Bronx.

She was telling us this wasn’t our market. It is a place where Africans shop, gather, and commune. It wasn’t our place to create art. One of our participants — an African American woman — tried to explain our mission. The woman disappeared and left us to our ritual.

Walls of Bounty, Ajax, Goya, and West African spices hovered over us as we weaved our way through the market’s maze. Prior to entering the market, Okpokwasili explained women would cleanse the roads to the market, and we were symbolically going to do the same at Gold Coast Trading Company. At a walking meditation pace, we moved together as much as a unit as we possibly could contain.

But what if a space and its owners do not want the roads to their market cleansed? What if they have a special place in their neighborhood in which Americans do not visit? As participants, we became performers for people who didn’t want a performance. They were confused, concerned. But we never felt unsafe.

One man, in a green cap with a red star, stopped and stared. He grinned, seemingly getting it, turned around, and headed down another isle.

But to other customers and employees, the ritual seemed sinister. Maybe it was a ceremony to bring bad juju. That’s what the market’s owner suggested to Okpokwasili after the walk as we stood outside and waited for her to finish negotiating with him.

Shalom said someone told him, “This is an African market. Not an American market.”

Outsider. Infiltrator. Other. For a change, I was placed in the uncomfortable position of feeling unwelcome.

Okpokwasili grew up in this neighborhood, and she wanted to share something from her childhood. The smells, the energy, the malts, and chin chin awakened a childlike joy in her. All she wanted to do was share a special experience in a special place with a small special group of people.

In the end, Elastic City decided it best not to return to the market and disturb them again. The remainder of Okpokwasili’s walks trekked through the Harlem Market.”

Patty Talahongva, Walk the Indian School (2016)

Patty Talahongva

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“WALK THE INDIAN SCHOOL” was led by Patty Talahongva on Saturday May 7, 2016, 8am – 10am in Phoenix, AZ. Here is the event description:

“Chances are you’ve taken Indian School Road to drive into downtown Phoenix but do you know how the road got its name? Did you know the federal government operated a boarding school for Native American children for 99 years at the corner of Central Avenue and Indian School Road? Come join us for a walking tour of the former school site, which is now Steele Indian School Park, and learn about the history of such boarding schools and the students and people who lived, worked and played on the site. Three buildings remain from the Indian School and all three are on the National Register of Historic Places. The City of Phoenix owns and operates the park and rents out Memorial Hall for public and private events. Learn about the effort to restore the former music building and turn it into a Native American Cultural Center. The tour will be led by a former student who attended Phoenix Indian School.

Patty Talahongva is the Community Development Manager at Native American Connections (NAC). She is overseeing the restoration of the music building for NAC and its partner, the Phoenix Indian Center (PIC). Patty attended Phoenix Indian School and will share her memories of the school and show guests how the campus changed through the 99-year history. Interview on NPR with Patty about this project. Click here.

Note: We suggest going to the Heard Museum prior to the walk to view the current exhibition on federally run Indian boarding schools. Following the walk we will join Patty at The Frybread House for a meal and a Q & A session. Lunch is on your own and the walking tour is free.”

Angela Ellsworth and Steven J. Yazzie, Museum of Walking (2014-)

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“The Museum of Walking (MoW) is an artist led educational resource center committed to the advancement of walking as an art practice. MoW is an educational resource committed to people, land, action, and site through the everyday act of walking. Walking is a defining human activity with poetic and political resonance as well as mundane and ceremonial manifestations that play a central role in contemporary art, social and cultural history, health, and sustainable lifestyles. Whether alone or with a group, moving through space creates connections between people and the environment, as it promotes well-being and enhances creative divergent thinking.

MoW houses a small-but-mighty archive and library comprised of walking related material engaging disciplines of art, science, philosophy, health, activism, contemplation and cartography. Through workshops, exhibitions, experiences, and site-specific projects MoW fosters relationships between people, land, action, and place.

The Museum of Walking was founded in 2014 in 120 square foot space. As an itinerant museum we now reside in numerous places. “