WILD WAYS is an international residency project curated and facilitated through a new partnership between The Museum of Loss and Renewal (Tracy Mackenna & Edwin Janssen) and The Walking Library (Misha Myers and Dee Heddon) and is part of The Museum of Loss and Renewal’s ongoing Place, People and Time group residency series. This partnership brought together two long-standing artist duos and projects who share site-specific, participatory and socially engaged art practices in common, yet hold diverse skills and expertise between them.

WILD WAYS was offered for practitioners and researchers working in all creative disciplines and for those who have a strong interest in the investigation of site and place. Applications from fields where relationship to and investigation of place and site are of central focus and are used to develop, conserve, document, explore, explain, interrogate, plan and propose such as performance, art, design, architecture, archaeology, engineering, geography, geology, geotechnology, history, landscape design and writing were welcomed. 

The online component of the WILD WAYS project was a Group Residency that took place in October 2021 with residents whose remarkable range of practices spanned art, walking, (cultural) geography, performing arts, urban theory, (landscape) architecture, theatre, dance, anthropology, publishing …

In Jan 2022 a co-authored public sharing of material generated during the WILD WAYS online residency, 2021 was launched in a bespoke online event that included presentations of residents’ practices and research by residents.


Working across site-specific, participatory, socially engaged and digital art and performance practices the Group Residency took place between 17 – 23 Oct 2022 in and around Collemacchia, situated in Italy’s Molise region where inhabitants are attempting to reinvigorate their community in the face of significant environmental and cultural change.

Working with as a group of residents from diverse cultures and creative disciplines through geographically remote, synchronous and collaborative place-based making processes the participants generated and shared global and local knowledge, and strategies for imagining the futures of fragile cultural and environmental ecologies.

The Group Residency provided opportunities for creative practitioners to share and establish a bank of knowledge and creative strategies, both globally interconnected and hyper local, digital and place-based, for imagining the futures of fragile cultural and environmental ecologies.

The residency provided a partially-structured and hands-on programme of site-based ways of working that are shared to enable residents to develop their skills and understanding of how to investigate site as part of a creative practice and for public presentation to a global audience. The residency experience was designed to stimulate experimentation through collective and individual production, research, and co-learning. Participants investigated, shared and connected their experiences of and ways of working in their own place in the world with those of others through facilitated co-creating and co-presenting modes.

Guided by the leading artists and using a combination of platforms for transmitting and presenting audio/visual/textual and located media, residents shared guided walks and readings in lost, renewed or fragile places in the residency’s natural environment. Members of the local community who hold precious knowledge of walking routes, architectural and local history past and present, and collecting, archiving and presenting, contributed to bespoke sessions. V
isits to the Winterline Museum in Venafro and il Museo per la Memoria Storica del Territorio in Filignano provided the participants with a deep understanding of the local culture and history.

The residency programme included time for residents to work individually or collaboratively, developing work in progress.

The WILD WAYS project establishes global perspectives, understandings, protocols and digital methods for remote and intercultural collaboration and enabled residency participants to approach Collemacchia’s community and environment informed and with foresight and care.

The Museum of Loss and Renewal is currently working on creating a co-authored online publication that will bring together the amazing creative work that has been undertaking during this week-long immersive experience.


Natalie Doonan

“VerdunReality,” multimedia performance by Natalie Doonan in Montreal, Canada. Photo by Ambre Marionneau ©2022.

Natalie Doonan is a new media and performance artist, writer and educator. She works at the intersection of visual art, sensory studies, performance studies and cultural geography. Her research focuses on food and the senses, technology, and the vitality of places.

Natalie’s work has been shown in exhibitions and festivals across Canada and internationally, such as: the Cultural Olympiad for the 2010 Winter Olympics in Vancouver, the LIVE Performance Art Biennale, the PuSh International Performing Arts Festival, Montréal’s Elektra Festival and BIAN, Nuit Blanche and Art Souterrain, and the Tunisian Pavilion of the Venice Biennale, 2017. Her writing has appeared in professional and peer reviewed art and food culture publications such as: Canadian Theatre Review, Theatre Research in Canada, Public Art Dialogue, Canadian Food Studies, Gastronomica, the Senses & Society, and Performance Research.

Natalie is Assistant Professor in the Department of Communication at l’Université de Montréal, Canada.

Rachel Henson

Two people wearing headphones look with one eye into a cardboard optical device attached to a smart phone while swiping the screen.

I’m a lens based artist inventing ways my work can be porous to the living world. I create experiences about places and who and what inhabits them, asking audiences to view work where it was filmed, or in a way that involves their physicality.

I have a background in outdoor circus-theatre, trained in Beijing opera-theatre, produced arts events in Beijing, and work as a Chinese literary translator. Since returning to the UK, alongside my arts practise, I am involved in urban wilding and campaigning for the biodiversity of and human connection with the Brighton Downs, England.

Annabel Howland

Bournes, Deans, Bottoms and Brows (detail), 2018, wall installation at Altitude, Towner Art Gallery, Eastbourne, England. Photo: Rob Harris

Annabel Howland was born in the UK, and lives and works in Amsterdam, the Netherlands.

Land, language and land use occupy central positions in Annabel’s work. Her explorations of mycorrhizal fungi, finance and mapping through different media and languages, lead her to navigate such entangled themes as cooperation, competition, stability, instability, transparency, opacity, life and death.

Exhibitions/projects include: Durn That Road (Bradwolff Projects Amsterdam, 2019); Producers-Parasites-Hosts (Athens Biennale 2013 to VU Amsterdam 2018); At Altitude (Towner Art Gallery, Eastbourne, 2018); There is No Road (The Road is Made by Walking) (Laboral, Gijón, 2008); Drains, Cables, and Cuts (Silicon Fen) (King’s Lynn/Ely, Film & Video Umbrella 2005-06); Terre tranchée (Centre Vu, Quebec City, 2002); Landscape Trauma in the Age of Scopophilia (London/Leeds, Autograph ABP, 2001).

Ainslie Murray

Ainslie Murray, Road Trip, 2021, installation view at Eden Garden, digital print on PVC, aluminium, brick clamps, river pebbles.

Ainslie Murray is an interdisciplinary artist and academic based in the Architecture Discipline in the Faculty of the Built Environment at the University of New South Wales in Sydney, Australia. 

Her work explores the augmentation of architectural space through subtle realisations of forgotten and intangible spatial forces. The atmosphere and its relation to the lived experience are areas of special interest which have focused her practice-led research for over 15 years. Ainslie’s work ranges from large-scale immersive installations and constructions, to film, painting, textiles and printed works. 

Ainslie’s principal interest is in forms of space-making that often escape attention, including ephemeral, minimal and immaterial forms of architecture. She makes work that investigates these forms of architecture in relation to climate and ecology, and frequently works in collaboration with others.

In her teaching, Ainslie questions the boundaries between art, architecture and landscape through a range of undergraduate and postgraduate design studios and interdisciplinary courses.

Laura Nanni

A map drawn from memory after a walk I took along the Toronto waterfront.

Laura Nanni is a Toronto/Tkaronto-based interdisciplinary artist, curator and producer. She has presented her artworks in public spaces and at festivals, galleries and theatres, including the International Festival of Performance Art, Buddies in Bad Times Theatre, Nuit Blanche, Harbourfront Centre, The Theatre Centre and Toronto Free Gallery (Toronto); Studio 303 (Montreal); LIFT (London); Angel Row and Bonington Gallery (Nottingham); Wunderbar (Newcastle); Homo Novus (Latvia); and Galapagos Art Space (New York).

Over the last 15 years, with frequent collaborator Sorrel Muggridge, she has created multiple site-specific works across Canada, Europe and the UK.

Laura is also the Artistic and Managing Director of SummerWorks, since 2016.

Recurring in her research and creative explorations is the process of walking, and aspects of mapping, navigation, and intersection (between public/private, virtual/real, scripted/accidental).

Emily Orley

My fingers emit sparks. Photograph by Emily Orley.

Emily Orley is an independent scholar, artist and educator based in London, whose work includes performance, video, installation and hybrid modes of writing. She has published a range of chapters and articles that explore and enact practices of creative-critical writing, and in 2018 co-edited The Creative Critic: Writing As/About Practice with Routledge.

Her research interests often revolve around ideas to do with memory, maintenance and enchantment, and un-fixing notions of time, heritage and place.

Always open to new forms of experimentation, nothing inspires her more than lively discussions, new encounters, and unlikely assemblages. As a practitioner-researcher, she is a firm believer in breaking down the false binaries that separate practice and theory, making and thinking and writing about making.

Ivan Pope

Visiting the first monument.

I was first an artist, graduating from Goldsmiths’ amid the chaos of 1990 with a vision for computer networks. I worked for a decade in installation and performance, making large scale site specific installations and film/performance installations while developing as an entrepreneur within the nascent Internet industry. Later I developed a practice in mapping and walking.

In 2015 I chose to focus on the production of fiction and non-fiction texts. This led me on a journey through a non-fiction to a PhD, in a mix of mythogeography and creative non-fiction.

As my research has developed I have been drawn back towards visual art practice, working somewhere on the interface between text and image. Since my work with GPS and mapping applications I have retained an interest in the combination of map and text, the interpenetration of topography and topology.

Jo Wheeler

Walk This Way [social practice project & guided walk] with Class 4, Mellers’ Primary School (2017).

I am a visual artist and producer collaborating with others to consider approaches to support our sense of self and belonging. Starting explorations are often photographic, but extend to other media including film, sound, installation and procession.

Since 2016 I’ve been co-lead for Youth Landscapers Collective, collaborating with young people to tell landscape stories of their area to share at international festival Timber (The National Forest – Leicestershire). Other projects include pop-up museums in bus shelters (Transported – South Holland); Walk This Way, a multi-sensory guided walk co-designed and led by children (Primary – Nottingham); Legacy installation / party take-over of formal dining room with Telford young carers (National Trust – Shropshire).

I also value my role as Creative Mentor supporting young people in care through Derbyshire’s Virtual School. In recent solo work I have been using durational approaches and applying social practice methods to investigate collaborations with site.


The Group Residency was lead by Tracy Mackenna (The Museum of Loss and Renewal) and Misha Myers and Dee Heddon (The Walking Library).

Tracy Mackenna & Edwin Janssen are the founders and curators of The Museum of Loss and Renewal. Their collaborative art practice is a creative and discursive site where production, presentation, exchange, co-learning and research meet. The Museum of Loss and Renewal’s key areas of focus are social relationships, the way places are inhabited and how personal objects reflect who we are. Tracy & Edwin work with international partners to devise and present multifaceted exhibition projects that address issues of societal concern such as well-being, aging, end of life and sustainability. They are highly experienced, award winning educators who have devised and lead multiple group learning projects situated within the international museum and gallery sector, and higher education.

Tracy Mackenna & Edwin Janssen

Misha Myers and Dee Heddon are co-creators of The Walking Library, inaugurated in 2012 as an ongoing art project that aims to bring together people, walking, books, and reading. Misha and Dee have co-authored numerous articles, artist’s pages and essays and co-edited the edition ‘On Libraries’ for Performance Research (2017).

The Walking Library

Misha is Professor of Contemporary Performance and Head of School of Stage and Screen at the University of Greenwich, London. She creates and researches performance that is staged and moves between physical and digital environments and enables diverse perspectives, knowledges and experiences of place and how it matters politically, socially, economically and environmentally. She has presented and facilitated work with isolated and marginalized groups including refugees and asylum seekers, women and rural communities in a global context.

Dee holds the James Arnott Chair in Drama at the University of Glasgow. She is the author of many monographs, articles and essays, including Autobiography and Performance (2008), and has co-edited a number of collections including, most recently, It’s All Allowed: The Performances of Adrian Howells (2016). She is currently working on Performing Forests, a monograph for Performing Landscapes, a new series for which she is co-editor with Sally Mackey.