MOVE W I T H (OUT) project


Since its inception in early 2013, the nomadic project MOVE W I T H (OUT) has been crossing borders, instigated by an urge to re-enact what Susan Hapgood describes as the “curatorial crabwalk” involved in travelling exhibitions.[1] With its pop-up trunk exhibition and site-specific performances along public routes, the project has been working on the intersections of visual, live and community art while mapping public city spaces and networks in cities among which include Venice, Belgrade, Singapore, Budapest, Skopje and Lisbon.

With reflections on the notions of home, identity and migration central to the enquiry, the project was continually developed through processes of making site-specific performance and cultural and creative exchanges with local networks of artists, organisations and interlocutors, to generate new, cross-border ones. These iterations saw a range of diverse artistic responses with thoughtful and provocative contextual critiques, which were carried through with MOVE W I T H (OUT)’s ongoing journey building an intangible discussion between each city and participating artists, while at the same time shaping and reshaping the project and its direction. Each street, each interaction, each conversation, each artwork and site-specific live performance, became part of a broader on-going conversation on mobility, public and private spaces, and art’s power to disentangle feelings and express both personal and communal relations with spaces.

With its insistent and continuous crossing of borders while weaving this tenuous yet resistant network between the European and Asian art scenes, between live and visual artists, their cities and its people, MOVE W I T H (OUT) has been experiencing what Sandro Mezzadra calls the ‘productive power of borders’ and their role in the fabrication of the world as a centre of contemporary experience.[2] Whereby borders have become a crucial site for political research and artistic practice, MOVE W I T H (OUT) has been living in these uncomfortable places that are borders, with their capacity to both connect and divide, being ‘sites of confrontation, contact, blocking, and passage’,[3] and such that instances of crisis are often present in this coexistence of ‘overlaps, continuities, ruptures, and commonalities’.[4]

For more information on the MOVE W I T H (OUT) project and its various stopovers, please follow the link here.


[1] Hapgood, Susan, “Freedoms, Pitfalls, and the Crab Walk of the Travelling Exhibition Curator, The Exhibitionist, No. 7, edited by Jens Hoffman, Chelsea Haines and Lumi Tan, pp. 57 -60

[2] Sandro Mezzadra and Brett Neilson, “Borders As Method, or, the Multiplication of Labor”, Duke University Press, p.

[3] Sandro Mezzadra and Brett Neilson, p. 38

[4] Sandro Mezzadra and Brett Neilson, p.