Co-Becomings

This selection of walks is less about arriving at a sacred destination and more about using the act of journeying as an artistic method for exploration, transformation, and meaning-making. It sits at the intersection of walking, performance, installation, social practice, and conceptual art, often blurring the boundaries between everyday life and artistic experience. In some cases it is about a specific site or walking it as part of a long desire and engaging with it towards co-becomings.

The works are made as collective efforts, collaborations, participatory or solo walks. Walking art is a contemporary artistic practice where the act of walking is the central medium, experience, or outcome. Instead of producing traditional static objects like sculptures or paintings, artists use their bodies moving through a landscape to explore environments, engage in political activism, or create ephemeral mark-making and storytelling.


The headlines below are in some cases the title of the project (italicized) in others an introductory phrase. They are performed by artist/curator Anna Viola Hallberg. They are introduced n a random order, but starting out with works as an artist and later including curatorial orchestrations.

Walk With Me

A transitional walk was developed as a public art walk for the pier in harbor of Mariestad, Sweden. This work was developed as part of a keynote presentation on Infrastructures and Freedoms, Rurban Talks. It’s a liminal walk in a specific site but can be walked with good imagination anywhere. (Sweden, 2026) >>>

Wakayama Prefecture

After living in and developing a relationship with the Swedish forest landscape, I was drawn to the forests of Wakayama Prefecture and the ancient pilgrimage routes of the Kumano Kodō. For over a thousand years, these trails have connected the sacred Kumano Sanzan shrines through a tradition blending Shinto, Buddhism, and mountain asceticism, where the presence of ancestors is continually invoked. By Berg Duo (Japan, 2024)
This joint work we work on separately as we turn them in to walking arts projects. (wip)

Atravesando la barranca

This work is conceived as an experimental pilgrimage. It began with the discovery of a photograph of a bridge in the collection of a public library. The image prompted a process of research that unfolded into a physical journey, culminating in a walk to the bridge traversing the ravine. Antiguo Puente del Ferrocarril de Metlac in Mexico was revisited. The tittle of the walk is Bridge of the Unknowns (Mexico, 2014) >>>

Speechless Walk

A walk in the village Ciganitri, West Java and its survival water levels and Bandungs gentrification. “Working at the intersection of lens and embodied practices – we are interested in movement and space within and beyond language, and ask how movement can bring spaces together, and how several spaces can be made into one, through embodiment. As time collapses, space is put at the forefront of our artistic research”. The walk was a speechless, undirected interaction between two dancers and a camera, generating video material.used in other art works. By Berg Duo.  (Indonesia, 2023)

Once

A memorial walk in four Stockholm Columbarium. In memory of fellow walkers. A public walking score of grief. The word columbarium comes from the Latin columba, meaning “dove,” because the rows of niches resemble the small nesting compartments of a dovecote. (Sweden, 2025-26) >>>

Embodying Hashigakari

Collective bridge crossings as immanent encounters with bridges. The walks resulting in a video installation. Suriashi led by Ami Skånberg as collective practices. By Berg Duo.  (Sweden, Germany, Japan and Italy, 2023-24) >>>

Curatorial Initiatives

WAP26

Walking The Archipelago , Drifting as a nomadic state
August 2026 we are set to Traverse the landscape we will take turn leading walks influenced by one’s practices and the curatorial position of walking approached as a form of situated attention – an embodied way of encountering territory, history, and power under conditions of rupture and uncertainty. Together we unpack Entanglement and Proximity towards social imagination.(Sweden, 2026-) >>>

Walk With Us

This collective walk on experimental pilgrimage was curated by Anna Viola Hallberg. Sequences were led by Ami Skånberg, Juanma Gonzalez and John Schuerman it was open for public participation and is set on a pilgrim path. It was a special project with in WAP24. (Sweden, 2024) >>>

Walking As Practice 2023-25

In this context, walking is treated simultaneously as an artistic medium and as a methodological framework for critical and creative investigation. As artists move through lived environments, they explore how agency may be extended to human and nonhuman others, to place, and to ecological processes. These practices emphasize relational care and collective attunement as strategies for cultivating co-presence and emergent forms of togetherness as social imagination. (Sweden, 2023-) >>>

Projects with/by Anna Viola Hallberg


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Walking Arts and Transience

WAP26 Entanglement and Proximity

Transience as Artistic Approach

Transience is central to the project’s artistic approach, understood not simply as movement through space, but as a method for engaging with instability, displacement, and incompleteness. By moving away from fixed geographic anchoring toward a nomadic mode of practice, transience becomes both an epistemic method and an aesthetic stance.

Within this framework, walking functions as a tool for dwelling in the temporary, the fragmented, and the situated. Knowledge emerges not linearly but through movement, interruptions, encounters, and shifting relations between body, place, and collective.

In blue spaces, this approach gains further resonance. The mutable, elusive qualities of water environments—their rhythms, dissolving boundaries, and constant spatial transformations—reflect and activate transience as an artistic principle. Here, the landscape becomes a co-actor rather than a backdrop, shaping a process defined by openness and uncertainty.

Transience also carries critical and political dimensions. By emphasizing movement, impermanence, and provisionality, the project challenges conventional notions of stability, ownership, and territorial control. Proximity is reframed as an ethical, situated relation in which participants and landscape engage under conditions of mutual dependency and vulnerability.

The project’s artistic significance lies in consistently working with transience as both method and content. Walking produces situated, embodied, and relational knowledge—always partial, always in flux. In doing so, the project contributes to the renewal of walking art, formulating a practice where the temporary and unpredictable are not limitations, but essential artistic qualities.

Transience as Method and Artistic Strategy

Transience lies at the core of the project, functioning simultaneously as a methodological and artistic principle. Methodologically, it is a mode of engagement with instability, displacement, and incompleteness: knowledge emerges not linearly, but through movement, interruption, and situated encounters between body, place, and collective. Artistically, walking becomes a medium that embodies temporariness and relationality, with landscapes—particularly water environments—acting as co-creators rather than mere backdrops. This approach embraces unpredictability and openness as aesthetic assets, challenging conventional ideas of mastery, ownership, and control. By integrating transience as both process and content, the project produces embodied, relational, and context-sensitive knowledge, contributing to the renewal of walking art and establishing proximity and impermanence as central ethical and artistic qualities.