Daniel Belasco Rogers
I am a British artist living in Berlin who works with psychogeography, memory and personal history through digital media, performance, drawing, fine art, and video. Since 2003 I have recorded every journey I make using a GPS (Global Positioning System). With my partner, Sophia New, we formed ‘plan b’ in 2002 as an umbrella for our collaborative work. In 2007, Sophia joined me in the daily collection of journeys and now we are looking to integrate this into our other collections of all the text messages we send each other and our mood reports.
christophercollier7 @ gmail.com
Christopher Collier is a PhD candidate at University of Essex. He is researching on the built environment as an exteriorised form of memory and how artistic actions within and upon this environment might constitute a political intervention upon possibilities for subject formation. Self-consciously opting to describe such a process using the somewhat contested historical term ‘psychogeography’, Chris aims to reconstruct a historical ‘psychogeographical’ tradition from a critical perspective. He is also interested in how this conceptual framework concerning art, the built environment and subjectivation offers a means to understand the practices of contemporary artists. Chris is involved in various collectives, has written for a number of publications and also produces occasional artworks.
As an anthropologist, i am doing research about senses of place and the experience of daily mobilities in urban contexts. I use walking and miles crossing as a way of finding, exploring and experimenting new ethnographical languages.
Katie Etheridge works across live and mediated art forms to make solo and collaborative performances and interventions that investigate the interrelationships between people and places, and artists and audiences.
Projects include A Short History of Silence (2005/06), in which audiences were invited to think and talk about the soundtrack of their lives on the back seat of a car disguised as a haystack, Field Work (2008), a participatory walking performance in search of Brighton’s medieval field system, and Signpost (2010), which collapses the processes of exploring, writing and performing place into a single mode, enacted through the carrying and writing of an uprooted signpost.
Recent collaborations include Signs and Wonders (2012) with Phil Smith and Simon Persighetti, a multimodal response to the 400th Anniversary of the Lancashire Witch Trials, exploring the transformation of ideas and objects, through trade, exchange and conversations in city streets, marketplaces, and country tracks.
As a lecturer in Theatre at University College Falmouth incorporating Dartington College of Arts, Katie specialises in located performance practice and professional development.
Anna Francis is an artist whose practice examines private histories, public space and civic languages; using forms of intervention, walking, drawing, mapping, performance, consultation and photography to investigate the impact that artists can have on their environments. Within Anna’s practice she creates situations for herself, the public and other artists to explore places differently: often experimenting with leading and instruction by creating manuals, instructions, kits or leading guided tours.
Anna is a Director at AirSpace Gallery, Stoke-on-Trent’s contemporary, artist led exhibiting space, where she has particular responsibility for the education and outreach programmes. Anna Francis is course leader on the BA Fine Art course at Staffordshire University.
Teacher/practitioner specialising in public and community negotiated projects, Mark’s areas of research/practice include performance pedagogy, process-based work and cross-disciplinary theatre/performance/ live art. Mark is the director of Performing Arts at the University of East London.
My main research and action area is the transdisciplinary field of “arts and (un-)sustainability”. Some of my other areas of work and interest include the sociology of arts and culture, cultural economics, dance studies, documentary film, sustainability and sustainable development.
Miriam (mim) King
Miriam King is an Artist/Choreographer/Dancer/Live Artist/Filmmaker born in London, living in Brighton, working internationally. With an art school background her professional performance career commenced in 1984. Moving from theatre through to dance, and to live art and film, her most significant training was with Anton Adasinsky & his performance company DEREVO at their former studio in Leningrad, Russia in 1990. Miriam’s work is influenced by Butoh dance. She’s has been creating her own unique performances since 1992, taking her to dance and live art festivals and artist-in-residences around the World. Her award winning dance film work has been shown at Lincoln Centre/New York, Pompidou Centre/Paris, ICA/London, the Venice Biennial and at the Sydney Opera House, Australia and in every continent (excluding Antarctica). Miriam has a continuing performance relationship with Gallery Kruh, Kostelec nad cernymi Lesy, nr Prague, Czech Republic which commenced in 1992 and an ongoing performance relationship with SoToDo Gallery, Berlin & the Congress of Visual and Performance Art.
I am Co-director of the Centre for Performance Innovation and Evaluation at the University of Lincoln’s School of Performing Arts. As well as developing site-based performance work in Lincolnshire (which includes a healthy mix of walking outputs) I’m Programme Leader for the new M.A. in Advanced Performance Practice (launches September, 2013) which will specialise in contemporary performance and located practices to professional standards.
Since my exposure to walking as a practice at Dartington in 1996 I’ve developed an intimate and eclectic portfolio of projects, most enjoyably 2009’s A Hackney 4th of July (in collaboration with Mark Hunter), which restaged the Boston Tea Party in a Hoxton café, launched a yacht in the Regent’s Canal and secured a dedication from the American Ambassador.
I’m currently pursuing a Practice as Research PhD at the University of Aberystwyth which investigates walking, performance and documentation in rural contexts.
Misha’s research involves the production of socially engaged, dialogic and propositional events activated through collective acts of walking, singing, writing or other performance mechanisms that invite participants to reflect on and articulate their experience and inhabitation of particular places and landscapes. Her project ‘way from home’ involved an online interactive interface mapping walks and conversations with refugees and asylum seekers based in Plymouth created in collaboration with refugee support organizations. This work is available on her website www.homingplace.org or www.wayfromhome.org. This work extended to other refugee groups and organisations across the UK through her consultation on the AHRC Knowledge Transfer project ‘Trans-national Communities: A Sense of Belonging’. Recent research considers the dramaturgy and narrative choreography of walking tours, the theatricality and sociability of audio walks, the techniques and technologies of and for voicing and listening in audio walks, and new dramaturgical and representational tools and frameworks for interpreting and designing interactive locative narrative experiences of landscapes
Is an artist working across media on ideas that stem from ordinary and everyday experiences. Collaborative work with the artists Gail Burton and Serena Korda as ‘walkwalkwalk: an archaeology of the familiar and forgotten’ uses walking to investigate place and explore urban routines, generating texts, sound, film and live art events.
Trained in clowning and physical theatre she became a member of the acclaimed lesbian-feminist Siren Theatre Company. She moved to Detroit to become co-artistic director of Walk & Squawk Performance Project, renovating of an old furniture manufacturing building in 1999 to create the Furniture Factory, a small performance venue and gallery space for experimental and innovative performance.
Her passion for collaboration led to the Walking Project, a 3-year interdisciplinary performance, mapping and cultural-exchange project with U.S. and South Africa-based artists and community participants in Detroit and KwaZulu-Natal. (http://walksquawk.blogs.com/about_the_walking_project), and later en:countering, an artist-led exchange between individuals and groups in Bristol (UK) Eger (Hungary) and Breda (Netherlands). (http://www.arantxaecharte.com/?page_id=380 )
In 2005 with other activists and experimenters she co-founded the Clandestine Insurgent Rebel Clown Army (CIRCA), www.clownarmy.org training people in the ancient art of subversive clowning for social change. Rebel clown brigades have since sprung up all over the world.
She recently completed a practice-led PhD at University of the West of England about everyday walking habits and now lives in West Wales, where she practices a particular (and possibly peculiar) assemblage of physical and visual theatre, street interventions, rebel clowning, walking, video-making and writing.
Glen Stoker uses multimedia techniques including photography, film and installation to explore the specifics of space, and personal place in the post-industrial city. With a particular interest in the hinterland, both physical and metaphysical, the practice often includes notions of journey, walks and mapping as an artistic endeavour.
Professionally, he is part of the delivery team at AirSpace Gallery in Stoke-on-Trent, managing its window exhibition programme. He is also an experienced photographic documenter, specialising in the area of gallery exhibitions, live art and performance.
I have been recording interviews with artists, activists and professionals from the world of walking and publishing them as podcasts. The plan is to develop this through involving interviewees in a series of walks, as part of a wider aspiration to develop a travelling urban walking festival under the title of the “Museum of Walking”. The concept is to make the walks not just exploratory, but participatory – in as much as the people who come on them become the performers and contributors to each walk. So I’ve begun by involving artists, musicians, performers and writers and I act as a curator.
Kaspar Wimberley & Susanne Kudielka
Susanne Kudielka & Kaspar Wimberley work as interventionists and performance researchers specialising in site-specific and site-responsive art, alternative strategies for audience interaction and new forms of artistic collaboration. The artistic process usually begins with a given site, and a process of observation and dialogue that analyses, and eventually responds, to the architectural, socio-political, geographical, mythological, connotative and historical narratives that can be found there. Projects are quietly subversive, playfully readjusting the appreciation of a particular activity or a given site.
Wrights & Sites
Formed in UK, 1997, Wrights & Sites are four artist-researchers (Stephen Hodge, Simon Persighetti, Phil Smith and Cathy Turner) whose work is focused on peoples’ relationships to places, cities, landscape and walking. We employ disrupted walking strategies as tools for playful debate, collaboration, intervention and spatial meaning-making.
Our work, like walking, is intended to be porous; for others to read into it and connect from it and for the specificities and temporalities of sites to fracture, erode and distress it. We have sought to pass on our dramaturgical strategies to others: to audiences, readers, visitors and passersby.
The outcomes of our work vary from project to project, but frequently include site-specific performance, Mis-Guided Tours (e.g. Stadtverführungen in Wien, Tanzquartier Wien and Wiener Festwochen, Vienna, 2007), published Mis-Guides (e.g. A Mis-Guide To Anywhere, 2006), ‘drifts’, mythogeographic mapping, public art (e.g. Wonders of Weston, CABE/Situations, Weston-super-Mare, 2010) or installations (e.g. mis-guided, Belluard Bollwerk International Festival, Fribourg, 2008), and public presentations and articles.
Today, walking and exploring the everyday remains at the heart of all we do, and what we make seeks to facilitate walker-artists, walker-makers and everyday pedestrians to become partners in ascribing significance to place.
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