” Walk to Freedom came about in late 2017 after I discovered the National Civil Rights Museum in Memphis, Tennessee was planning remembrance ceremonies in April 2018 to mark the 50th anniversary of Dr. Martin Luther King, Jr.’s assassination. I recognized the importance of this moment and I thought about how could I contribute to this great event.
I asked myself what could I do to honor the legacy of Dr. King’s ideas? What commitment of myself could I offer the Civil Rights movement today? How could I pay homage to our ancestors who sacrificed so much for our freedom?
That’s when the idea of Walk to Freedom was born. I realized if I was going to offer a symbolic gesture to Dr. King, move the Civil Rights movement ahead by one yard, give thanks to the original Freedom Seekers, then I was going to walk to demonstrate my commitment.” (credit)
I like to think of drawing as a broad term, not limited to pencil on paper. Drawing is a record and a representation. It can be a record of what something looks like, or it can represent a location, or an action. It can be a record of an event, or an idea, but it isn’t mistaken for any of these things, it is not a substitute. I draw by moving through spaces based on systems. The artifacts of these journeys are records of those drawings.
I create systems to experience spaces through movement and labor. I make art by creating maps, drawings, photos, and videos that utilize the virtual understandings of space to create systems and formulas to actually experience those spaces. Ideally, the presentation of the formulas and systems along with the visual manifestation of the work will influence the viewers into considering and possibly experiencing their own spaces differently…. but that’s a lot to ask. Maybe someone just wants to look at it, and I’m good with that.” (credit)
“For twenty-two years I have made the hour long drive from my house in Cerrillos to my office at the University of New Mexico. For this piece, I decided to walk to work. I strapped on a backpack, headed out my door and walked as straight a line as possible (given the variations in topography, land ownership, etc.) to my office at UNM. Along the roughly 50 mile trek across ranch land, the Sandia Mountains and the northeast quadrant of Albuquerque I recorded my perceptions from the perspective of a lone hiker walking across the land.
This work is part of a series of “Physiocartographies.” Started in 2003 in the field with the Land Arts of the American West mobile studio, the physiocartographies series combines the abstraction of cartographic maps with the physical act of walking the surface of the planet to create portraits of place. In the various works from this series I follow prescribed paths across the landscape using a gps unit to navigate and record points, a camera to shoot images and a digital recorder to capture sounds. The final works appear as reconstructed maps, videos and installations.” (credit)
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.
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)
“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)
“Anastasi folded these sheets into eight squares, making them small enough to fit into his pocket. As he walked, he held a tiny, soft pencil against the exposed paper inside the cramped space of his pocket; the resulting marks graph his movements. When he deemed a section complete, Anastasi refolded the sheet, creating a new blank surface, and the process began again. “I love walking,” the artist has explained. “I find that walking does something to my thinking, to my mental process, that is different from sitting or lying down.” These “pocket drawings” are part of a broader practice that Anastasi has described as “unsighted,” including works made while walking (holding a pad, he looks at his destination as he draws) and riding the subway (the train’s stops and starts, bumps and turns, direct the line’s size, weight, and orientation). — Gallery label from A Trip from Here to There, March 15–July 30, 2013.
Medium Pencil on two sheets of transparentized paper
Dimensions each: 10 7/8 x 14″ (27.6 x 35.6 cm)” (credit)
Brennan’s current project – one might almost call it a campaign – entitled ‘Roman Runner’ involves the artist envisaging running the entire circumference of the Roman Empire. To date, he has traversed Hadrian’s Wall and the Antonine Wall as ultra-marathon manoeuvres.
“Tim Brennan, Roman Runner: Limes Germanicus I (2013)
Tim Brennan has ran more than 90 miles across The Netherlands in 19 hours as part of his major performance art project to trace the edge of the Roman Empire across the globe. He completed a solo run along the edges of the Roman Empire in Continental Europe, which he began at 3am on Saturday (August 24) taking the road east from Katwijk- Aan-Zee, on the edge of the North Sea to Herwen-De-Bijland, near the German border and the Black Sea, known as the Lower Germanic Limes (frontier).” (credit)
Sarah Rodigari, Strategies for Leaving and Arriving Home (2011); Photography: Adeo Esplago; Presented: Performance Space Sydney, Monash University Museum of Art, Melbourne and Artspace, Sydney as part of Art as Verb.
“Walking is a type of process-based research which informs my performance practice. I use walking alongside other social modalities such as conversation to document relational knowledge and to consider how place is historically determined, invented and retold.” (Catalog, “From Here to There: Australian Art and Walking)
“A six-week performative walk in which I relocated 880 kilometres from Melbourne to Sydney in the winter of 2011. I On my back I carried a tent, a sleeping bag and a four-day supply of food. As no ‘official’ walking route exists between these two cities, I mapped out my own path, choosing to follow the train line as best I could. When this was not possible, I followed the Hume Highway. I walked approximately twenty kilometres per day. I had no support vehicle; instead, I invited people to be my support by walking with me or joining me via the project blog.
In addition to documentation presented through essays, maps and the blog, I have included images of people who participated in the project by either walking, offering accommodation, food,a lift, or passing conversation and local knowledge. The inter-personal affective relations experienced in this exchange expose a vulnerability found within the embodied image of this walk: a woman walking alone along a highway. In turn, this mediation changed the process of the walk and thus shaped the nature of the project.” (credit)