A walk from the Tuileries Gardens (Louvre art gallery end) to the Pont Neuf, along the Seine, and back through the Tuileries Tunnel with art works. I aimed to walk through the tunnel in the other (west-east) direction, but couldn’t find the entrance. Google maps to the rescue! Note that it says ‘Closed’ though at the time of writing that means only to cars and lorries etc.
Walk along the Seine
Look to your left for make-shift homes and art work. Signs indicating historical sites of interest and local history are on the walls too, including the story of the Washerwomen. During the18th century, more than 80 boats would have been moored along the banks of the Seine, each carrying 24 washerwomen (‘a gigantic laundry’). Others built a jetty, illegally, and stationed themselves there to hang out the washing to dry. Eventually the boats were condemned as a hindrance to river traffic, and ‘the smalls’ unseemly to be seen from the Louvre and the Tuileries Palace.
From the Tuileries Gardens (close to the Louvre art gallery) to half way between the Pont des Arts and the Pont Neuf on the north/right bank
800m long – once you’re in, there’s no escape
10 European street artists
Parallel to the Seine River
Open only to walkers and cyclists
Including Andrea Ravo Mattoni, Hydrane, Lek & Sowat, Bault, Ërell, Madame, Romain Froquet
Artistic direction: Nicolas Laugero Lasserre, with the support of the City of Paris
Text from the @m_a_d_a_m_e (below) ‘De l’obscur au clair ce n’est pas l’œil oui change mais la façon dont on Louvre’ meaning, approximately, ‘from dark to light, it’s not the eye that changes but the way we Louvre.’
The Tuileries Tunnel is a cross between a cold contemporary art gallery and a graffitied tunnel. With all the ambience of the Channel one (linking Dover and Calais), once you are in it you are only reminded of its Parisian location by occasional French texts. Overlaid now with random graffiti, it’s hard to distinguish between the original and later-added work.
Lighting changes colour like switching traffic beacons and affects the frescoes. Beam-me-up blue ones invite you to stand underneath, back to the sides – part interrogatory, part revelatory. Some works stretch along the walls, like the dancing figures or running wild animals, moving and flowing; others decorate with familiar blocks of primary coloured letters or the image of Frida Kahlo. All are constantly interacting with their audience, some concentrating only on running and others defacing them.
There isn’t one theme, though the fight for life and peace features strongly. The art works do not, collectively, tell a story, nor do they offer a message (unlike the Colinton Tunnel or No Birds Land in Edinburgh), though there is immense subtlety in some of them despite the conditions of the walls and the external temperature.
Half way through, I wasn’t sure I wanted to stay, but I had to either go back or on. There is a rawness in the air, a sense of disquiet, with none of the cosyness of a National Gallery or safety of a contemporary white box. Certainly there is impermanence – there are no guarantees that what you are witnessing will be there tomorrow.
Link to tourist website page about the Tuileries Tunnel
Nearest public toilets: Tuileries Gardens, Rue de Rivoli / Place des Pyramides entrance.
For a good takeaway try Aki Boulangerie, 16 Rue de Sainte-Anne, 75001 Paris (Japanese take-away meals: those works-of-art-cum-French-pâtisserie (cakes is too pedestrian a description), real delicacies. I had a briquette (I think it was called) sort of deep fried breadcrumbs outside with curried veg inside – delicious).
For the best, simple green tea served in the tiddliest teapot (there’s plenty – quality not quantity) in Paris (so far) try Atelier WM – 45 Rue de Richelieu, 75001 Paris, France
Have you been to the tunnel? What did you think? Please do leave a comment below.
This month was my idea for the Walking the Land artists collective First Friday Walk. I had been reading about ‘dynamic stillness’, a term used by geographers and complementary therapists. Also, of course, I was following the war in Ukraine.
I wrote, ‘Let us walk in solidarity with the Ukrainian people who are walking away from their homes and home country, searching, looking for another place where they can be still, to re-find themselves and safe emplacements. We will set out from a still-point (perhaps the place where we live, where we feel secure), and search for “the embeddedness of the sensing subject”.
‘We will ask, ‘Where do we feel embedded?’ ‘Where can we find a moving or still emplacement in the walk, or in the place through, or to which, we are walking?’
Some of us walked alone and others in a group, and we were spread all over the UK.
I sit in the sun and listen to the quiet, then a bee sounds by my ear and some birds chorus. When I stay myself some more, I hear the distant waves, and the odd car – one rattles, needs something doing to it. The tree has got my back. Do I feel safe here? Yes, mostly. This place is known, I’m within the boundaries of my garden, inside the gate. Gulls screech. I am grounded with my feet flat on the stones. Below them is the earth – I know that because there is a solitary primrose which has grown up through them. My sitting bones still hurt though.
Sketching, I have a metallic taste in my mouth and frustration in my wrist as I try a third time to get the angles right. I am attempting to draw the smell of the dead brown Xmas tree which I keep meaning to take to the dump.
1.05pm I begin my walk and am immediately struck by the fact that I am choosing to leave my home and the people of Ukraine have no choice. Yet, the dandelions are so cheery
Ominous skies and a horizontal rainbow – portents
As I walked, I thought about a story I watched last night on the Channel 4 news. A Ukrainian woman was knocked unconscious and trapped. When she came round, she dug out her husband and friend and they escaped from the bombed theatre in Mariupol. Hundreds were not so lucky. She said she felt no emotions, had no feelings. This, I know from my work, is a sign of trauma.
In Edinburgh, I heard a woman speak on her phone as she passed me: “No time to think about such frivolous things”, she said. A child’s swing in a nearby garden squeaked as it swung.
Fallen blossom petals are strewn on the pavement. I hear a dog walker saying, “All present and correct. Have a nice day” as she leaves the park.
As I passed someone else walking her dogs, and this man repairing his boundary, I wondered if the people I am walking with in spirit had to leave their pets behind, and how long it would take them to repair their broken walls if they ever get home again
Text 1 comes in from Richard Keating, my counterpart in Gloucestershire: “I’ve just walked a few miles from home, crossing the Nailsworth Valley and am now looking west towards May Hill. I have lived on this side of the valley for 25 years so feel very much at home here. … However the wind is cold and I’ll be glad when the pub opens its doors. Imagine how a refugee would feel as a door is opened for them. As a home is shared.”
Abandoned tank . Devastation . Clearing up the rubble
The mother said, “Grandma gave her toys to me” and her little son replied, “Do you ever see her?” And then I am aware of the importance of familial relationships, of the personal artefacts passed down, of interrupted generations and houses and possessions all lost.
On the pavement, I am treated with courtesy and kindness as a man, wordlessly, stands aside so I can pass, and smiles.
I hear the father say “Oh you want to touch that” and he lifts the back wheels of the buggy up so that the little one can stroke the leaves of the hedge.
I am wedged between two upright logs, one on either side, and there is a solid one underneath me. I teeter – I am not as safe as I might be. I can’t see behind and would therefore only know if someone was coming if I heard them. There’s a lot of noise coming from all over the place, from different directions so I can’t distinguish if one of them is someone approaching me or not. I can reassure myself, though, because there’s not a war raging here in Scotland.
I hold on and stretch back, the sun is warm. I hear a foot meeting a ball and it clatters against the goal posts. Her heeled footsteps pace beyond the hedge. A dog barks. Distant voices, nearby cars. Smooth wood under my palms, a taste of…of…cucumber… and cedar. Is that a taste or a smell? There is a breeze. Cold at my nostrils, of air, perhaps exhaust fumes, a hint of the warm wood. I have been worried that I’m losing my sense of smell, but maybe it’s OK.
I receive a second message from Richard: “We’ve made our first stillness and are moving on. Your script has been well used.”
Warmer, wider and flatter under my bottom, I have lots of space on this tree stump. My lower back tilts which relieves the pain. I am facing north now, but I have the same awareness of people perhaps coming from behind. Cars wheel beyond the hedge which doesn’t seem dangerous because, to my knowledge, one has never driven through it into the park. Then I realise danger can come from above and see that the tree top obviously fell down, though presumably in the recent storm and not on a day like this…
I can smell the sun on my skin and when I touch it, it is warm. I put my warm hand to my cold nose. The wind is coming towards me here bringing…. what? Ice from the Arctic? Again, my feet are off the ground and it strikes me that this is less safe as it would take me longer to put them down and run away. Footsteps behind me; I know they are male. They come up, go past, without stopping. The taste (yawn) is of old apple. Mhmm. And some metal.
Moving on, I thank the man who has painted the pavilion a gleaming privet-green. He’s busy clearing a thin layer of turf from around the perimeter. We chat about the public toilets they installed late in lockdown and then took away again because someone had to watch them all the time due to the vandalism. He said that there is already “a Ladies and Gentleman’s Cloakroom” in the building, so all they needed to do was to make it accessible for people with disabilities and then there would be a permanent facility. I said, no-one ever asks the people on the ground who know.
I am amongst insistent birds, beside the ever-running Water of Leith, on a hard log. The brambles are intrusive. Or maybe I am. I smell humus and rotting plants, someone smoking weed. I taste coffee (a mid walk treat), and there’s the touch of cool, smooth, dry bark on this knarled trunk.
People walk right past but don’t see me – I’m by the Rocheid Path but off the beaten track. The car sound pollution is distant. The rambling couples always come back in the other direction after a few minutes because it’s a dead end.
I wonder, will Putin withdraw, or are they just regrouping for a heavier bombardment? It sounds like he’s out of rubles but… . I am obviously carrying the story with me as I walk, snippets of it anyway.
Tickling leaves at my neck, ants (maybe) under my thigh.
I see drops of ‘blood’ everywhere
My scarf is getting ruined, snagging on the thorns – as if that’s a big deal, in the circumstances. When I try to wind it around my neck again later, I am scratched because portions of blackberry branches are still stuck in it. Invisibly.
I ask myself, how can I maintain awareness of these horrifying occurrences and still live comfortably here, and Richard suggests that we could focus on better understanding “this connectivity between us all”, and I know that this is what these walks are about. I’ll share the walk, invite a response, and celebrate others’.
At 15.35 I am tired and I wonder if the Gloucester lot are having tea. I try to imagine where they are and what they are doing, without the aid of a newsflash or twitter feed.
I start on my return home with the scent of wild garlic in my nostrils.
I pick off an individual leaf of lavender and squeeze it between thumb and finger tip. I inhale for the pleasure and calm.
In Walking the Land, we connect with each other via computers and phones. You can imagine these ‘meetings’ as emplacements, still places in which we innovate, stabilise and share our ideas. Then, see how we move out into the landscape on our walks, dynamically. If we stay in touch with each other as we walk, using What’sApp maybe, or even tweeting with a hashtag #, we remain in contact via a collective still-point while we move at the same time. If we post on social media after the walk, representing the body movement in ‘stills’ and fixed words, there is a further version of this ‘dynamic stillness’.
If you have work to share in response to this walking prompt, please send it to firstname.lastname@example.org
Today I walk an imaginary line around my house. My feet don’t leave indentations to show I have done it, not since the recent snow, and when that melted, the trace was gone. Home and back, I pace and pound my boundary line, a pathway that returns to itself, reconnects, reattaches, brings me back to the garden gate.
Terminalia is a one day festival of walking, space, place and psychogeography on 23rd Feburary. Terminalia is the festival of Terminus, Roman god of boundaries and landmarks so if there was ever a god and festival for psychogeography this would be it!
They say that people walking somewhere can change a place, that the land alters because of us. Of course, it’s clear if we wear down the mountainside or trample wildflowers underfoot, if we make a desire path, flattening the grass just enough that the next person who comes by can see it and tread it afterwards. But I’m talking about the idea that the nature of a place adjusts as many people cross it for a specific reason (such as pilgrimage, religious or secular), that an ordinary location becomes imbued with a special significance after it has been walked upon by people with a shared aim or sensibility. If that’s true, do my streets, the streets which bear my weight daily, still feel me when I’m gone? Do I rub off on them somehow? Can I say I belong there?
Or is it the air above a path that is disturbed by my body moving through it, affected by my presence, retaining a whiff of me? Then, what happens when the wind blows and displaces it – have I been whisked away, or am I still there? How exactly does it work, this treading of Terminus, deity of the marking of our territory?
A crow breaks the quiet with a piercing caw on the turret, the wind finds crevices in my clothing, the odour of fish and chips invades my sense of propriety. Someone has etched into the tree’s bark and graffitied the bridge’s stone. A trickle finds a way through, waves breach the breakwater and ride roughshod over rocks. We must leave a gap or the wind will blow a solid fence over, a river bring down a protective wall. In so many ways, boundaries seem to be there to be broken – at least that’s when we notice them.
A few of us meander along the ribboned edge of the bay, the constant interruption of land by sea. We talk to no-one, we stand and watch the water. I feel sad and the waves sound melancholy too. Only the other day it was like satin, now the surface darkens and shifts as the wind messes it into mackerel patterns. Sand clouds rush past me in such a hurry, disintegrating as they haste towards Fife. Uncharacteristic ripples sweep out to Inchcolm island where the disappearing rainbow arcs (between real and unreal). While I was there I had that golden luck and the rain never reached me, I who have hot sun on my calves. One by one, we stoop and pick what catches our eye. I chase dry seaweed as it billows across the beach.
Psychogeography describes the effect of a geographical location on the emotions and behaviour of individuals
I am concentrating on my own boundaries of time (too little for my own projects) – noticing how they get eroded, how I let them, allowing myself less. And on the amount of space I have (too much room in my house now the children and lodgers have gone) – somehow ending up with more than I need. As I pace the liminal wetness, the seam, I mourn the freedom I didn’t have (I was raised to think about others before myself and it has stayed with me) and the shells I am inadvertently crunching underfoot. The sea doesn’t stick to its limit. I see it constantly pushing them. I stand close by until it unexpectedly breaks the rule and surges at me. I have to stumble back out of the way or get wet.
There are fewer birds than usual on the strand, though later I see them swarming, their blanched bellies catching the sun as they swoop en masse. Over the blue they go, alighting on the pontoon quickly, one after the other, then taking off just as swiftly, an avian Mexican wave.
I muse on how everyday habits break down fear by reassuring us what will happen; then equally how they cause it, how we become nervous about being spontaneous and managing sudden change. I have been at home so long now, moving steadily around my immediate area – 5 miles in each direction – that I wonder how I’ll manage to go further afield. Will we all spread out across national borders again, back and forth over timelines and zones, or will we be more circumspect, stay closer to home, on our own territory? I have no plans.
Incidentally, Terminalia is also a tree genus (upwards of 200 species) including the Terminalia catappa. Found in Madagascar, tropical and subtropical Asia and the Pacific (http://powo.science.kew.org/taxon/171034-1), the leaves are to be found at the very end – terminus – of the branches. Types of the tree (bark) are used in Ayurvedic medicine to treat heart conditions and diarrhoea.
Elspeth is a textile artist who develops collaborative walks. In 2015, she set up the group Thread and Word which takes its inspiration from a poem written by Cecilia Vicuña in Edinburgh where Elspeth also led walks once upon a time. Vicuña’s poem uses weaving as a metaphor for people engaging with each other in order to build healthy communities. In Quechua (say kecha) the word for “language” also means “thread”, and the word for “complex conversation” also means “embroidery”. In Quechua, no word exists for a singular entity.
Each artist has chosen a book, short story or a poem written by an author who is blind or visually impaired and introduces their writing to us through a creative engagement.
My little part is a pink pin on the map which when you click on it looks like this: #Distance Drift WALKING WITH VIRGINIA AND MILTON
You will need to click on the link above and then expand the actual map, just like you make a google map bigger. It’s one of the inland ones, quite central, in a wooded piece of green, one of 2 pins (blue and pink) and I am part of the pink one.
‘All our woe’ is a quote from John Milton’s ‘Paradise Lost‘. I have been living through, thinking and writing about grief and loss, and so wanted to include this theme in my contribution to A Different Lens 2020. Milton is referring to the Christian, biblical story of Eden and the advent of sin, how the tasting of the forbidden fruit in paradise brought death into the world and the sadness which comes with it.
I subscribe to a different view, that death is a natural part of life. This season of Autumn is the celebration of summer’s bounty, of ageing and the falling of leaves – the inevitable, annual decline. Winter is coming, the quiet time when we are advised to snuggle in like hibernating animals do, to reflect on the year that has passed and on our mutability. We won’t live for ever, and when we die, Spring will still come with its new life and fresh beginnings. We might even be reborn! With a bit of work, we can start to appreciate our small place in this cycle.
St Triduana’s Aisle is a small, hexagonal chapel and ancient holy spring in Restalrig, Edinburgh. It is dedicated to a woman who is said to have given up her sight in order to better see God. A Pictish saint, people have also made pilgrimage to a church and loch named after her (St Tredwell) on Papa Westray in Orkney.
I hope you enjoy exploring the map like I did – there are links which have links which have links – threads and weavings of poetry, music, spoken word, video and more. Please do leave a comment below if you would like to.