Three Walked Rooms

Karshan “walks out” three historic rooms that resonate with her practice. She approaches each location in the same way as her drawings; allowing these spaces to enact walked lines and movements that embody her internal rhythm and form. Each walk is choreographed by Linda Karshan and directed & filmed by Ishmael Annobil of Stonedog Productions.

Film 1: Linda’s Room, A Moth with Turn the Balance, San Giorgio Maggiore Abbey, Venice, Italy, September 2018.

Film 2: Two Feet Walking, Moti del’ Animo, the Study Room of the British Museum, London, February 2019.

Film 3: Graphite Stroke: Taking a Line for a Walk, Somerset House, March 2019.


Film 1: Linda’s Room: A Moth can Turn the Balance

September 2018

A Stonedog Production, Directed by Ishmael Annobil

" 'We should never be roused' by the essay...because it 'should lay us under a spell with its first word, and we should only wake, refreshed, with its last',...fixing us in a 'trance which is not sleep but an intensification of of life'."

Thomas Karshan, “What do they know?” TLS, March 22, 2013, quoting Virginia Woolf, on the essay.

Linda Karshan does an impromptu performance in response to her exhibition, Equilibrio: Art Architecture and Sacred Geometry in conversation, at Abbazia Di San Giorgio Maggiore, Venice (August 26 - October 7, 2018). Here Linda walks the 'sacred geometry', effecting a drawing, in response to the magnificent show, curated by Dr. Carmelo Grassi and Rev.


Film 2: Two Feet Walking: Moti del’Animo - In the Study Room of the British Museum

February 2019

A Stonedog Production, Directed by Ishmael Annobil

“This second walked drawing in my trilogy of historic rooms called for an approach different to that of San Giorgio.

In Palladio's Venetian structure, my event-space was wide open; the floor a design of lozenges. While it might have been the case that I followed these patterns, in fact they asked to be navigated round. 

The  Study Room of the British Museum called for navigation of a different kind. The two long, study tables at the heart of my work determined the symmetrical structure of the piece. Limbering up, I happily I noted that the length of each table amounted to 16 counts--'turn and turn about'--while the width was a handsome number 8. 

Trollies of books added to the fun; I mostly steered clear of them, by design.

The history of the room, with its distinct, proud aura,  powerfully effected my state of mind. With concentration and awareness of my surround, I walked with 'purposefulness without purpose', in black and white.”

- Linda Karshan, 26/02/2019


Film 3: Graphite Stroke : Taking a Line for a Walk

March 2019

A Stonedog Production, Directed by Ishmael Annobil

Graphite Stroke: Taking a Line for a Walk*

This event-space demanded clear decisions. The size of the courtyard; it's cobblestone surface; its being out of doors with the Courtauld in arriere-plan--these considerations called for a fresh approach, arrived at with awareness, and detachment.**

My intuition told me to buy tap shoes, to better animate the sound/rhythm of my walk. Limbering up, in rough footage from the first recce, I saw myself as a graphite stroke, taking itself for a walk. Ishmael observed that I looked like a show horse in dressage: the cobblestones required that I lift my knees, so as not to stumble in my new shoes.

Tap, tap; click, click. Tap, tap; click, click: 'In ultimate c(c=consciousness), which is no c at all', observed Mattias Barmann, responding to Ishmael's take.                      

 'grace, as we know, is in the puppet as in god, no c at all/ultimate c(c=consciousness)--and in the show horse,  of course--Kleist obviously forgot it.' ***

Mattias is referring to Kleist's short story, On the Marionette Theatre, 1810, a key text in my work. I refer to it often, especially in its definition of gravity, and grace: “the line of gravity is nothing but the path taken by the soul of the dancer.” ****

“Dance is an action and a thing.” *****

LINDA KARSHAN 15 March 2019

FOOTNOTES:                                                                                            

*Paul Klee, Pedagogical Sketchbook

**By both Ishmael and myself.

***Mattias Barmann, March 2019. To LK

****Heinrich von Kleist. See Linda Karshan jotting, Nov. 27, 2007, in LK, Studio View, p. 70; and the artist's statement, The           Assigned Figure, in Measure without Measure. Marilyn McCully, Cacklegoose Press, 2000, p. 55.

*****Charles Olson, in a letter to Merce Cunningham. I read this in a wall text at Kettle's Yard, Cambridge, during their show on Black Mountain College, 2002.