Walking And Mapping

 Artists as Cartographers

By Karen O’Rourke

“Today, the convergence of global networks, online databases, and new tools for location-based mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O’Rourke explores …a series of walking/mapping projects by contemporary artists. Some chart “emotional GPS”; some use GPS for creating “datascapes” while others use their legs to do “speculative mapping.” Many work with scientists, designers, and engineers.”

From Leonardo Book Series

Walking and Mapping: Artists as Cartographers by Karen O'Rourke
Walking and Mapping: Artists as Cartographers by Karen O’Rourke


Contemporary artists beginning with Guy Debord and Richard Long have returned again and again to the walking motif. Debord and his friends tracked the urban flows of Paris; Long trampled a path in the grass and snapped a picture of the result (A Line Made by Walking). Mapping is a way for us to locate ourselves in the world physically, culturally, or psychologically; Debord produced maps like collages that traced the “psychogeography” of Paris.

O’Rourke offers close readings of these works—many of which she was able to experience firsthand—and situates them in relation to landmark works from the past half-century. She shows that the infinitesimal details of each of these projects take on more significance in conjunction with others. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomena.

 This book sounds absolutely gorgeous – “subjective science” is my new faovurite discipline. Reminded me of A Field Guide to Getting Lost which I must also read someday… (Ed.)


Walking and Mapping is a veritable trove of generative ideas systematically unearthed as a ‘subjective science’ for inspired modes of engagement with the ground of everyday life. From Oulipian Pataphysics and Lettrist drift to Stalkers traversing the periphery of Rome, and from artists tracing Mexican and Moroccan border and immigration routes to microscopic landscapes and Intifada checkpoints, O’Rourke’s book is a landmark contribution to authentic countercultural thinking.”
Kristine Stiles, France Family Professor of Art, Art History & Visual Studies, Duke University

“Karen O’Rourke clearly has wide knowledge of the field and has provided a valuable and informative book. Walking and Mapping brings together, in an intelligent fashion, the state of the art in walking artistic practice. I am sure that for many readers it will be an engaging volume that will spark lots of new ideas.”
Martin Dodge, Geography Department, The University of Manchester, and coauthor of Code/Space: Software and Everyday Life

“In Walking and Mapping, Karen O’Rourke links the ‘territories’ of art and cartography. Other works have addressed this as a series of conference-delivered chapters, but Walking and Mapping provides a detailed investigation of the topic—from the artist’s perspective.”
William Cartwright, School of Mathematical and Geospatial Sciences, RMIT University

Transition & Utopia

Transitory Art

Theory & Art in Temporary Societies

MoTA – Museum of Transitory Art, Ljubljana with CIANT (Prague), BIS (Istanbul) and ARTos (Nicosia)


As a collaborating partner with MoTA for T-R-A-C-E-S Tea & Radio Lounge @ Transmediale10, I am thrilled to see this exciting project evolve for the Museum of Transitory Art and partners. (Jodi Rose)

T.R.I.B.E. – a new network of residency spaces in the Balkans and East Europe, dedicated to research and production of Transitory Art, launches its first open call for artistic and research residencies to take place between March 2013 and April 2014. TRIBE network aims to examine vital cultural, political and social questions in a way that will produce fresh perspectives via research and artistic outputs.


MORE INFO & APPLICATION: http://transitoryart.org/tribe-open-call/


TRIBE Open call for Artist in Residence Proposals
TRIBE Open call for Artist in Residence Proposals





A TRIBE residency is a production or research residency for artists and researchers taking place in at least one and maximum three cities – Ljubljana, Prague, Istanbul, Nicosia, Belgrade & other locations. TRIBE is a network interested in forming a mobile group of artists and researchers to participate in explorations, discussions, interventions and innovations related to the first TRIBE theme: Transition & Utopia.

Works produced will be exhibited in two exhibitions taking place in Istanbul, Turkey and Ljubljana, Slovenia. Common events for TRIBE group, workshops and a symposium for researchers will take place in Nicosia, Cyprus.



1) (Monumental) public space interventions

2) Live art and symbols of nationalism (such as flash mobs/live art actions)

3) Projects researching transitions from analogue to digital media, obsolete technolgies and futurisms




– A project proposal

– Motivation for why you would like to work in the context of this particular residency (how its mission relates to your proposed project)

– How and why would you describe your work as transitory?

– A technical description and project development plan (including an indication of your planning divided between the organizations, i.e. what would you like to develop where and why – if applicable)

– A draft budget proposal




Transition can be seen in acute forms in current political and social conditions and in the accelerated transition of social, religious and economic notions of value. In a situation of constant dislocation and perceived loss of values Transitory Art can play a vital role in adjusting perceptions and bringing forward new forms, considering and analysing not only longer-term solutions and structures, but also smaller, short-term interventions that can help trigger processes of change including at the socio- and geo-political level.

While the Balkans did enjoy a period of so-called independence they are now increasingly subject to historical Austro-Hungarian interests in new forms and re-entering a state of disempowered conomic dependence. This is accompanied by a loss of respect for human rights in Europe accompanied by growing nationalism at the European centre as well as the peripheries.

Both centre and periphery are experiencing an ever-harsher capitalist regime. This intensifies processes of migration from and across the Balkans. These conditions generate social, cultural and political uncertainty and a related lack of vision and leadership at a time when much of the region’s populations remain traumatised by constantly changing and deteriorating life conditions.

The forced and even catastrophic transitions occurring at all levels of human existence (intellectual, political, personal, media) produces widespread disorientation. Transitory Art is a process which responds to the consequences of transitional ‘realities’ which create such a widespread state of fear and uncertainty, and social and mental dead-ends.

In the current state, change seems an utopia. We believe that the role of art is to allow a space for the possibility of change, generating fresh perspectives and propose new solutions. We search for concepts and ideas in which the citizens of a dreamless Europe regain their power to change.

We are looking for critical artists working in the field of media and transitory art, interventions and exploratory critical researchers and curators. The project focuses on the Balkans and the East but welcomes projects adressing the theme in a broader way.

Online application form + more information on the theme: http://transitoryart.org/tribe-submission/

All applicants will be informed by 15 May 2013.

Date: 11.03.2013 – 20.04.2013
Project website: www.transitoryart.org

“In 2012, equipped with sound recording devices, speakers, percussion and cameras, co-producer, Jonathan Uliel Saldhana, camera man, José Roseira, percussionist, Gustavo Costa, and Raz Mesinai, go deep inside one of the oldest underground mines in all of Europe, dating back thousands of years. After descending hundreds of feet beneath the earth, they begin to encounter paranormal sounds, which they spend weeks recording, finding themselves lost in a labyrinth, surrounded by mysterious sounds and no way out.

Incorporating footage and sound recordings from his underground expeditions, Raz Mesinai blurs the line between reality and fiction, creating a dream like narrative of darkness at its darkest.”

Tunnel Vision watch trailer

Written & directed by Raz Mesinai
Produced by Raz Mesinai & Jonathan Uliel Saldanha
Music by Jonathan Uliel Saldanha


Sounding the Depths

“As a composer in the post-dub era, Jerusalem-born and New York-raised Raz Mesinai has spent the past 25 years burrowing under the surface realms of genre and song format to find a reverberant sonic space of his own. With Tunnel Vision (Tzadik), his filmmaking debut, Mesinai takes that burrowing to another level by tying together the praxes of tunneling, sound composition and non-linear narrative.

Tunnel Vision centers around an amorphous group of three to five people finding and exploring one of the many ancient mines under the city of Porto in Portugal. The film is skillfully directed and edited by Mesinai—who many would know for his work in underground electronic music as Sub Dub and Badawi—and scored by fellow experimental-dub artist Jonathan Uliel Saldanha, who among other projects fronts the Porto-based “voodoo-dub” outfit HYY & the Macumbas.

Mesinai establishes the subversive nature of tunneling early in the film. As the director explains his fascination with the underground via voiceover, a character designated Geo-Phone Bob—headphoned, suited in orange and twiddling knobs on a box—performs a cryptic, surveyor-style metering ritual on a street corner at night that draws the scrutiny of a security guard watching him from 20 feet away. Clearly, even preparing for the act of going underground is subject to monitoring on the surface…

Saldanha’s abstract score is performed by Mesinai and a crew of 9 others including the composer himself. Saldanha blends bass, percussion, winds, electronics and some intense wailing by Jessika Kenney and Catarina Miranda to create a ritualized atmosphere to the proceedings that proves both hypnotizing and extremely effective.

Related to this, Tunnel Vision extends a narrative format that Mesinai calls “Dub Fiction” and describes as “a form of storytelling utilizing various mediums of modern technology to create elastic narratives which can be manipulated and, essentially, remixed by others.” In short, storylines and plots can resemble sound signals that can be routed through and effected by various filters. A storyline can decay or become reverberant, and aspects of it can echo or face other effects of repetition.”

read the full article here on Souciant

by Ron Nachmann on Apr 8, 2013

Souciant is a magazine of politics and culture. Or culture and politics. It all depends on your starting point.

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For Souciant, all media is equal. Souciant publishes everything. That is, everything that conforms to our editorial mandate.

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