Along this shifting trajectory, participants engage with walks informed by scores and other points of departure, foregrounding entanglement and proximity as both method and condition. Walking is framed as a practice of presence, attention, and relationality, deliberately resisting mastery, linearity, and spectacle.

After three years where the artists had their own studio on Björkö in the northern Stockholm archipelago, WAP26 signals a deliberate methodological shift. The project abandons a stable geographic anchoring in favor of a nomadic mode of operation, positioning transience as both an epistemic method and a political condition. Traversing the landscape we will take turn leading walks influenced by one’s practice 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.

Traversing these landscapes surfaces questions of privilege, embodied knowledge, ethical engagement, fragmented proximities, and historical sensitivity. From a new materialist perspective, walking is a mode of engagement that situates bodies, places, and others in ethical and relational co-becomings, challenging conventional paradigms of control, productivity, and visual consumption while privileging situated, transformative experience.

WAP26 articulates walking as a critical, situated practice of relational engagement under conditions of geopolitical and ecological urgency. Framed as a political aesthetic practice forged in a world defined by rupture rather than stability, proximity is understood not as mere nearness but as an ethical and political condition through which bodies encounter landscape, history, power, and environmental precarity. Walking functions simultaneously as method and statement: a mode of inquiry attentive to interruption, displacement, and instability, producing embodied, partial, and contingent forms of knowledge.

Through sustained engagement with sites marked by fragmentation and historical discontinuity, WAP26 positions walking as a methodological and aesthetic practice that privileges presence, relationality, and ethical attentiveness over representation, mastery, or fixed territorial claims.

WAP26 frames walking towards political aesthetic. It incorporates approaches of entanglement and co-becomings. Walking becomes method, medium, and statement – a practice of presence that resists mastery, ownership, and spectacle. From a new materialist lens, walking is a practice of engagement. It connects body, place, and others in ways that are ethical, relational, and transformative, challenging conventional ideas of control, productivity, and visual consumption. Together we walk in the imaginary footsteps of Peter Weiss in tandem with Gloria Anzaldúa, Bing Song, Paola Bacchetta and Karen Barad through the archipelago of Stockholm, Sweden. Download application kit for full information and curatorial framework.