Drawing together Tim Cresswell’s work on mobilities with Walter Benjamin’s Arcades Project, this article considers the Johannesburg suburbs of Bertrams, Lorentzville and Judith’s Paarl as produced and reinvented through the mobilities of their inhabitants. How might an artistic performance foreground the mobilities that contribute to daily place-making? In so doing, how might an artistic performance work into the history of a city space and the ongoing, evolving production of its contemporary moment? How might we place Cresswell’s notion of mobilities in productive tension with Benjamin’s Arcades Project to think through African city spaces? Both Cresswell and Benjamin speak to movement, what movement effects in the world and the kind of knowing it produces. This article seeks to unpack some of the ways in which a performance-based artwork can work across historical times to explore both whimsy and practicality in our trajectories through and between city spaces — how our trajectories are one of the key ways in which we have and continue to make place and know how to do so.

本文将蒂姆·克莱斯韦尔（T​​im Cresswell）在机动性方面的工作与沃尔特·本杰明（Walter Benjamin）的街机项目（Arcades Project）结合在一起，认为约翰内斯堡的Bertrams，洛伦兹维尔（Lorentzville）和朱迪思（Judith's Paarl）郊区是通过居民的机动性产生和重塑的。艺术表演如何看待有助于日常摆放的动静？这样一来，艺术表演如何在城市空间的历史及其当代时刻不断发展的过程中发挥作用？通过本杰明的Arcades Project，我们如何将Cresswell的移动性概念置于生产紧张状态在非洲城市空间中思考？克雷斯韦尔（Cresswell）和本杰明（Benjamin）都谈到运动，运动对世界的影响以及对运动的了解。本文旨在探讨一些表现艺术作品在整个历史时期的工作方式，以探索穿越城市空间和城市空间之间的轨迹中的异想天开和实用性-我们的轨迹如何成为我们拥有和生活的关键方式之一。继续进行，并知道该怎么做。